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o 



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The Library of Congress 



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at The LIBRARY tf CONGRESS 




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for Audio Visual Conservation 

www.loc.gov/avconservation 

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www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 



Scanned from the collections of 
The Library of Congress 





AUDIO-VISUAL CONSERVATION -^nfflfT 
at The LIBRARY ,f CONGRESS 




=,1 



m- 



Packard Campus 

for Audio Visual Conservation 

www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 




ELSIE 

Discov 
BING CROSBY'S SECRET 

MEN I HAVE LOVED by JEAN HARLOW 



NOTHING BUT THE TRUTH 



THE MOST DARING FEATURt • 
IN ANY FILM MAG, 



PN ma 

\2 STAR TRIUMPH/ 

Now Comes the Year's Most Celebrated Hit! 



• MARIE DRESSLER 
•JOHN BARRYMORE 
•WALLACE BEERY 

• JEAN HARLOW 

• LIONEL BARRYMORE 
*LEE TRACY 

• EDMUND LOWE 

• BILLIE BURKE 

MADGE EVANS *KAREN MORLEY 
JEAN HERSHOLT •PHILLIPS HOLMES 



DINNER 



DINNER AT 8 flames with 
drama . . . the fallen mat- 
inee idol . . . the millionaire's 
frivolous wife. ..the amorous 
doctor of the idle rich . . . 
stolen hours of romance 
. . . each thrilling episode 
played by a great STAR! 
No wonder it was Broad- 
way's advanced -price film 
sensation for three months. 
It is YOURS with a thousand 
thrills NOW! 





Screen play by 
Frances Marion 
and Herman J. 
M ank i ewicz. 
From the Sam H. 
Harris stage play 
by GEORGE S. 
KAUFMAN & 
EDNA FERBER 

Produced by 

David O.Selznick 

Directed by 

George Cukor 



METRO* GO LDWYN • MAYER 

- 




■Avit \ 




nxxwuL 



SHE'S GRAND ON A HORSE-AND A DANCE FLOOR — BUT OH, HER TERRIBLE TEETHI 




J\ 



~utie sits a horse like a slim young prin- Tnlie dances as lightly as a floating au- 

cess — and rides like a demon Legion- I lumn leaf. And her frocks are scanned ' 

naire. She's as daring as she is lovely. I many an envious eye! But the 

But there's a "but" about Juliel ^y about Julie spoils all her good 



11 young prin- Tulie dances as lightly as a floating au- ~JT "TT oung men ride uith Julie — and It 

temon Legion- I tumn leaf. And her frocks are scanned by ^z' dance uith Julie. But they mtl 

s she is lovely. I many an envious eye! But the "but" ¥ never propose to Julie. For the "bu 

I Julie! ^y about Julie spoils all her good times'. JL. about Julie is her tenth'. 




1 



f only Julie would look into the mirror— 
and see what the men see: her dingy, 
dull teeth ! Julie doesn 't dream that ' 'pink 
tooth brush" is the cause! 



J 



ulie's dentist could tell her that she 
needs to massage her tender gums — uith 
Ipana. If only Julie knew about Ipana 
Tooth Paste and massage . . . 



I 



t wouldn't be a month before her let lb 
would look grand! Her gums would be 
firmer. Her smile would be atlraitni. 
And Julie could hold her men! 



i 



<o 



.["Julie"— and have allowed 
"|iink tooth brash" to spoil 
your teeth and your smile. 

Don't be a "Julie" any longer. Get 
IPANA Tooth Paste. And not only 
clean your teeth with it — but each 
time put a little more Ipana on your 
brush or fingertip, and massage it 
directly into your tender gums. 

Modern gums tend to become 



CVvxjxA. 4U1K Iccrtli I5ric44i 



flabby and unhealthy — and to bleed 
■ — ■ because modern foods are not 
sufficiently rough and crunchy to 
stimulate them. Your gums need 
massage — with Ipana. 

*i our dentist knows that there is 
ziratol in Ipana. This aids in toning 



the gums hack to health] 
hardness. Vnd when you 

are rid of "pink I OOl h 
brush." you aren't likeK to 
pick up gum infections likr gingi- 
vitis, Vincent's disease, and pyor- 
rhea. You'll feel safer, too. about 
the soundness of your teeth. 

Ipana is a good toolli paste and 

ii is good for tender gums. I Be it ! 
1 ou'll have good-looking teeth! 



THE "IPANATROUBADOURS'ARE BACK! EVERY 
WEDNESDAY EVENING . . . 9:00 P. M., E. S. T. 
WEAF AND ASSOCIATED N. B. C. STATIONS 

IPANA 

TOOTH PASTE 




BRIS TO! MYERS CO., D»pl. vi 
:i \\c ii Slroel, Nf>- York, N. V. 

Kindt] ■■"I m- a trial loU n( IPANA 

root II r \-i i i m le id Ii a it lUmp 

*r-r parll\ (lie cift o r parLinjt ami mailing. 



w 



The New Movie Magazine. Jaiumnj. 1934 



VOL. IX, No. 1 JANUARY 1934 

the New Movie ma G «,ne 

One of the TOWER MAGAZINES 
CATHERINE McNELlS Publisher HUGH WEIR, Editorial Director 

NOTHING BUT THE TRUTH! 

The Most Fearless Expression of Opinion in Any Film Magazine 

EDDIE CANTOR I Challenge the Producers ! 

SAMUEL GOLDWYN You Can't Measure Genius in Dollars! 

B. P. SCHULBERG A Producer Speaks His Mind 

CLARA BERANGER Why Must They Look Beautiful? 

WILLIAM C. DeMILLE Something for Nothing 

R. H. COCHRANE Who's Afraid of the Movie Code ? 

FREDERICK L. COLLINS . Is the Academy Worth Saving ? 
E. HALDEMAN- JULIUS A Kansas Hick on Trailers! 

NEW PICTURES YOU SHOULD SEE AND WHY 

Your Dependable Guide to the Films of the Month By FREDERIC F. VAN DE WATER 

and 

Advance News of New Films in the Making By Franc Dillon 

Cover Design by Clarke Moore 

THE BEST FEATURES OF THE MONTH DEPARTMENTS 

The Wonder Woman of Pictures — Marie Dressier Hollywood Day by Day Nemo 6 

Edwin C. Hill 24 
Brother of a Celebrity Bill Vallee 27 Speaking of Money Herb Howe 42 

Men I Have Loved on the Screen. . . .Jean Harlow 28 M ii • ' i_i n j c l- aa 

New Movie s Hollywood Fashions 44 

Meet the Puppets! Henry Willson 3 1 

Along Came Bill John James 37 Ted Cook's Cook-Coos 50 

Binq Crosby's Secret Elsie Janis 38 v . . _ _. _ „. . , n 

* > You Must Come Over orace Kingsley 60 

Youth Looks Ahead Franc Dillon 40 

Hollywood Slave ... 48 People's Academy, 68. . . . Breakfast at Seven, 58. . . . Music in 

Hollywood's Haunted Hill Eleanor Griffin 52 tne Movies, 54. . . . Your Money's Worth in Beauty, 61 Fashions 

The Fairy Princess of the Films (Ruby Keeler) Direct from the Stars, 71. . . . Hollywood Style for You, 72. . . . The 



-Hester Robison 56 Malce-up Box, 98. 



Published Monthly by TOWER MAGAZINES, Inc., 4600 Diversey Avenue, Chicago, 111. 

Executive and Editorial Offices: 55 Fifth Avenue, New York, N. Y. . . Home Office: 22 No. Franklin St., Wilkes-Barre, Pa. 

Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Cal. 

Address all correspondence to Tower Magazines, Inc., 55 Fifth Avenue, New York, N. Y. 
Do not send any correspondence to our publication office at 4600 Diversey Avenue, Chicago, 111. 

Copyright 1934 (Title Reg. U. S. Pat. Off.), by Tower Magazines. 
DFFTPFRS Inc.. i°n the United States and Canada. Subscription price in ADVERTISING OFFICES 

urntEM the U. S. A.. $1.00 a year, 10c a copy: in Canada. $1.S0 a 

Catherine McNelis, President g»'. , Sg™ 1 '"InCafseccn^^as^matVef .^CV«n£ ¥£ 55 Fifth Avenue, New York, N. Y. 

John P. McNelis, Vice-president ^%^^\,X&, x tVn^™v£^£ 919 No. Michigan Ave., Chicago, 111. 

Theodore Alexander, Treasurer ^ S.MSS: gH^SSS'/. S, 'LponUC "«£ Russ Buildin „ San Francisco, Cal. 

Marif I Fparherstnne C,rr,i„r„ °< unsolicited manuscripts, and they will not be returned unless KUSS DUllUlUg, 

marie L. reatnerstone, Secretary accompanied bv stamped, self-addressed envelopes. Owners submit- 

ting unsolicited manuscripts assume all risk of their loss or damage. 

On Sale at Woolworth Stores and Newsstands the first of Every Month 



Dear Reader, You Are 
the Key to National Recovery 




'HpHERE is a 

■*■ spirit abroad these 
days which has much that is 
valiant, much that is selfless, in it. The 
great faith, the inspiring courage, the 
wise foresight which started and directed 
the N.R.A. has sent its influence out over 
this great land of ours. 

Tower readers . . . the shopping women 
of America . . . housewives, mothers, are 
a vital part of that whole national move- 
ment to buy now. Even one important 
new purchase made by each Tower reader 

The Neiv Movie Magazine, January, 193U 



(and they number 
millions) can start a rip- 
ple of prosperity which will 
spread from Atlantic to Pacific shores. 
Perhaps a colorful new rug or chair; lino- 
leum in cheery-toned patterns for any 
room in the house; gay linens or china 
for the table; new bedding; new apparel. 
Your favorite stores hold glorious 
assortments of all this new merchandise. 
Buying it today means doing your patriotic 
part . . . prosperity ... a glorious tulrill- 
ment of the National Recovery Act 1 




Eddie Cantor, giving his own unique in- 
terpretation of The New Movie Magazine's 
star reporter of unconsidered trifles, Nemo. 



By 

NEMO 



HOLLYWOOD'S fortunates are 
having their troubles with a 
real menace. The motion pic- 
ture community is infested 
with racketeers who are exerting 
their best efforts to discover ways of 
divesting high-salaried personalities 
of their bank balances. Run out of 
New York and Chicago by the law or 
the depression, the lads who live by 
their wits, or worse, have flocked to 
Hollywood in droves. No one knows 
just what they have done, to what 
extent they have carried their depre- 
dations, because those who have suf- 
fered won't talk about it. And no 
one blames them. 



HOLLYWOOD 

DAY bv DAY 



The New Movie Magazine's Man-about-town gives 
you all of the latest gossip from the movie colony 



Not so long ago it was rumored 
around Hollywood that Charlie 
Chaplin had been kidnaped by 
"snatchers" and had paid a large 
ransom to obtain his freedom. Other 
names have been mentioned in con- 
nection with similar occurrences. 
The police have no record of any at- 
tempt at kidnaping a picture celeb- 
rity. There have been threats, how- 
ever, and many of the high-salaried 
ones now have to go about amply 
guarded. 

There is scarcely a star's home in 
Hollywood or Beverly Hills or a pro- 
ducer's, in which there are children, 
that is not guarded day and night. 
There have been numerous robberies 
of picture people which bore the 
mark of the racketeer and in which 
the "finger" figured. 

Warner Brothers even made a pic- 
ture called "The Finger Man" which 
stars Jimmy Cagney as a former 
gangster who comes to Hollywood 
and becomes a big picture name. In 
case you don't savvy the term, the 
"finger man" of a mob is the fellow 
who points out the victim and the 
location to nab him. Mae West, 
Betty Compson and one of the many 
Marxes are only a few of those who 
are reputed to have had the "fin- 
ger" put on them at various 
times. 



HP HE most talked about achieve- 
*■ ment of the gangsters among 
those who discuss the lowdown in 
more or less certain terms is that 
which concerned a well known eccen- 
tric comedian. A former night club 
entertainer who made good in the 
movies went back to New York last 
year to appear in a musical comedy. 
These who profess to know all about 
it declare that the comedian didn't 
want to go back to New York at all 
but that only fear of bodily injury or 
even death was the impelling motive. 
True, he got a good salary but 
throughout the run of the play 
there was never a moment that he 
did not realize the menace which 
hovered over him. 

Funny about Edward G. Robinson, 
who has won undying fame portray- 
ing the role of gang leader. As 
"Little Caesar," following his tour 
as the Chicago gangster in "The 
Racket," Eddie made nearly every- 
body in the country believe that ho 
was the real McCoy. Again, as "The 
Little Giant," he was a sure-enough 
gangster. Just shows what a swell 
actor he is, because Eddie is as ig- 
norant of gangland as his six- 
months' old baby. He knows even 
less about firearms, if that is pos- 
sible. Yet he is just what everyone 
(Please turn to page 8) 




Busby Berkeley, dance director, goes to New York to sign eight of the most beautiful 
girls picked as contest winners. Here they are: Grace Moore, Blanche McDonald, Diana 
Bourget, Marie Marks, Claire Augerot, Jane Vance, Rickey Newell, Marjorie Murphy. 

The Neiv Movie Magazine, January, 1934 




I 




i you're 
looking for New Ideas on Food! 



FACTS? Lots of them! Ideas 1 Scores of them! Interest in ever} 
line. Everyone who wants something new and novel and not at all 
difficult to prepare can find it in Tower Magazines' handy reference library 
of f jod books. Every housewife or like-to-be housewife ought to have them. 
Favorite Recipes of the Movie Stars; Reducing the Right Way; 44 Easy, 
Economical Dinners. 

Let's turn the pages first of Favorite Recipes of the Movie Stars. Half the 
fun of knowing about Fredric March's recipe "Ham With Cucumbers" is 
seeing the accompanying picture of handsome "Fredric" at a cozy home 
meal. The other recipes have equal interest. 

The best part of Reducing the Right Way is the fact that it makes reducing 
so sensible, so easy, so sure. The right exercises help the right food to keep 
your figure right in line for winter frocks. 

Forty-four Easy, Economical Dinners save all the fuss and flurry of last 
minute planning. They give you a menu a day for forty-four blissful, care- 
free days. All you have to do is follow it page by page and you'll know 
what's good to eat and good for you! 

TOWER BOOKS, Incorporated 

5 Fifth Avenue, New> York, N. Y. 

The New Movie Magazi»<\ January, 193b 




Send for This 
Set Today 

10c 

Each 





Photo ly Wide World 



Wally Beery, in London, hobnobbing with Hollywood friends — Laura LaPlante and Raquel 
Torres, both in England working in British films. 




Mae West on the set, with Cary Grant, 
Romayne, secretary to Wesley Ruggles, the 
director, and William LeBaron, who is credited 
with having sponsored the stardom of both 
Miss West and Bing Crosby. 

Hollywood chatterers have been frantically 
endeavoring to link the names of Sari 
Maritza and Sam Katz, the theater magnate, 
formerly one of the heads of Paramount. 
Here you see her in her latest picture, Ann 
Harding's "The Right to Romance." 



{Continued from page 6) 
believes a boss racketeer should be in 
real life and it is doubtful if he will 
ever be accepted as anything else. 

Recently he was starred in a pic- 
ture of the Chicago stock-yards, 
called, for some reason or other, "I 
Loved a Woman" and critics gener- 
ally agreed that he was woefully 
miscast. 

\\T HAT threatened for a time to de- 
v * velop into one of the pepperiest 
scandals Hollywood has been afflicted 
with in years accompanied the arrest 
of a couple of young Eastern gang- 
sters charged with the robbery of 
John Warburton, an English actor 
who came out to play in "Cavalcade." 
One of them made a confession in 
which he stated that they were hired 
by Sidney Bartlett to beat up the 
Britisher and disfigure him. Alice 
White's name was dragged into it. 
They've been writing pieces in the 




papers about Alice and Si Bartlett 
for many moons. 

Well, the horrid fellows from the 
courthouse had Alice and Si go 
down and visit the grand jury. Alice 
told 'em that she didn't know a thing 
about anything and Si refused to 
tell 'em anything about anything. As 
a result the two gangsters were in- 
dicted for robbery and no official no- 
tice taken of the alleged conspiracy 
to muss up the Englishman's fea- 



Anh^n 




Lilian Harvey is still subject to some of the 
influence of her almost-native Germany. For 
instance, she drives a big German car, a 
Mercedes. The California motor vehicle au- 
thorities, just as star conscious as we lesser 
mortals are, have given her license plate 
No. IA-IIIII. 

tures so he'd only be good for Boris 
Karloff parts thereafter. 

THE big literary captive of the 
season is Emil Ludwig, the fa- 
mous biographer. Warner Brothers 
brought him to Hollywood from 
Switzerland to work on a treatment 
of his Napoleon biography which is 
to star Eddie Robinson. By the way, 
Napoleon was something of a racke- 
teer himself, so Eddie ought to do a 
good job on him. Ludwig, who is a 
German Jew, has lived in Switzer- 
land for some years because of dis- 
crimination against his race in 
Hitlerland. He is regarded as ' the 
foremost writer of biography of this 
era and is a leader in the anti-Nazi 
movement. 

GERMAN actors in Hollywood are 
more than a little agitated by the 
Nazi activities. Most of the picture 
producers are Jewish and several of 
them are heavy contributors to the 
movement to offset anti-Jewish ma- 
chinations abroad. 

Naturally, the actors known to be 
in sympathy with Herr Hitler's 
views aren't getting a great deal of 
consideration and the chief indoor 
sport among the Teuton Thespians is 
to write letters to the producers tell- 
ing them that the other actors are 
(Please turn to page 10) 



The New Movie Magazine, January, 19&U 




John Borrymore, in real life Hollywood's proudest father, now at work, 

paradoxically, on ths dramatization of G. B. Stern's popular novel. "Long Lost 

Father." Later on he is tentatively scheduled to do "Break of Hearts," with 

the dynamic Katharine Hepburn. 



The New Movie Magazine, January, 193 % 




Photo Iv Wide II 



Peter Bennett, four-year-old adopted son of 
Constance Bennett. This is one of the first 
pictures ever published of the little blond, 
blue-eyed boy because, hitherto, Connie has 
refused to permit it. 

This is the first introduction to the camera of 

Miss Susan Ann Gilbert, daughter of John 

Gilbert and Virginia Bruce, shown for your 

inspection by her proud mother. 

Photo ov Wide World 



(Continued from page 8) 
Hitlerites. That good old fellow 
countryman spirit. 

Ernst Lubitsch was one German 
who got a laugh out of newspaper 
stories that he, among others, was 
being recalled to Germany to make 
pictures which would add to the 
glory of Deutschland. Ernst is a 
Jew, and about the last person Hit- 
ler wants to see making pictures for 
UFA or anybody else in the Vater- 
land. Besides Ernst is on the way to 
becoming an American citizen. 

AND, while discussing the Teuton 
■ situation, the fair Marlene's 
name was also mentioned as one of 
the wanted expatriates, but there is 
little likelihood of die Dietrich ditch- 
ing the U.S.A. Not unless Mae West 
gets her goat. Of course, that was 
mostly publicity — that feud between 
Mae and Marlene — and pretty good 
press agent hooey at that. The fa- 
mous old Negri-Swanson feud was 
raked up and warmed over for the 
benefit of the present generation and 



the public was almost convinced that 
Mae was ready to take aim at Mar- 
lene, or vice versa, at the very first 
time they got within a mile of each 
other. But at this writing there have 
been no fatalities. 

BET you never knew that Jean 
Harlow was a Hollywood school 
girl. Yep, she once attended the 
very exclusive Hollywood School for 
Girls which was located on LaBrea 
just a block off Hollywood Boulevard. 
She was about twelve then and 
among her schoolmates were Milton 
Sills' daughter and the tw odaugh- 
ters of Louis B. Mayer. 

And maybe you'd be surprised to 
learn that her hair wasn't any darker 
than it is now. But they called her a 
"cotton-top" then instead of a plati- 
num blonde. Only two boys ever at- 
tended that school, and who d'ye 
suppose they were? Young Doug 
Fairbanks and Joel McCrea ! Honest ! 
Cross my heart ! 

HP HE latest Hollywood garment is 
■*■ the "earthquake pajama." You 
see, there is no telling when old 
Mother Earth does a shimmy out 
here — by the way, why not call the 
gaudy suits "shimmies?" — and no 




self-respecting picture star wants to 
dash out on the street or into a 
crowded hotel or apartment house 
lobby attired in an unattractive out- 
fit. So they have the deluxe garment 
handy to slip on when the house 
starts to shake, and any old-timer 
can make the change between the 
bedroom door and the hall, without 
losing a step. 






HOOPLA," which is the latest 
Clara Bow vehicle, is "The 
Barker" which first brought Walter 
Huston and Claudette Colbert to the 
attention of film magnates while the 
play was running on Broadway some 
half dozen years ago. Later it be- 
came a First National picture, star- 
ring the late Milton Sills. It was 
while playing on the stage in this 
play that Claudette met Norman 
Foster and married him. 

THERE was a unique reunion at 
the opening of Mae West's newest 
opus, "I'm No Angel," at Grauman's 
Chinese. Cary Grant, Mae's leading 
man, made a personal appearance 
with other members of the cast. On 
the prologue bill was a troupe of stilt 
walkers and it was immediately Old 
Home Week. Cary ran away from 
home to join a circus when he was a 
kid and became a stilt walker, and 
this was his old gang. 

BY the way, Mae is now working 
on her new contract by the terms 
of which she gets $100,000 a picture. 
They also say that the curvaceous 
one also gets about half that amount 
again for providing her own story 
and, be it known, Mae won't stand 
for anybody's writing stories for her 
pictures but Mae. 

Well, it's quite an achievement, 
and you must hand it to Mae. Not 
so long ago, she came to Holfywood 
with ominous prophecies echoing in 
her ears. The smart fellows on Broad- 
way opined that she could never get 
into a studio, let alone get herself a 
lucrative contract. 

They figured that, because of those 
ultra-sexy things she did on the 
stage. Will Hays would frown upon 
(Please turn to page 12) 




Jack L. Warner, Jr., following in his success- 
ful father's footsteps, strolling with Ricardo 
Cortei on the Warner Brothers' studio lot. 
"Rick," beginning his new Warner contract, 
is first seen in "The Shakedown." 



10 



The Neio Movie Magazine, January, 193 A 



NEW FACES 





The new star, John Lochlon 
Brown, son of Mr. and Mrs. 
Johnny Mack Brown. Who 
calls him a star? You just ask 
Papo Johnny and Mama 
Cornelia Foster Brown, and 
you'll soon find out. 

Wini Shaw was a torch singer 
in a Cleveland, Ohio, nig Si 
club when Lenore Ulric and 
Arch Selwyn, the theatrical 
and movie producer, heard 
her. They rushed her to New 
York for a Fox contract. You'll 
see her soon in Fox's Movie- 
tone Follies. 



Photo t* II \dt II ■ Ed 

Paramount conducted an international beauty con- 
test in Great Britain, and here are the four 
answers, en route to Hollywood — Loret+a Walker, 
of Ireland; Lucille du Toit, from far-off South 
Africa; Gwenllian Gil, of Scotland, and Nita 
Harvey, of England. 



Frances Drake, the little English actress, just signed 

by Paramount and rushed to Hollywood. She'll 

be up for your inspection soon. 



Jacqueline Wells, stage ingenue, 
first leading role in Paramount's "Til 



playing he 
ie and Gus.' 





Recent recruits in the movie pro- 
ducers' world-wide search for beauty 
and talent — and one new star 



The New Movie Magazine, January, 193i 



11 




Photo by Wide World 



Jack LaRue, Paramount's professional menace 
— if George Raft doesn't get the part — and 
little Margie Lucille, dancer of the stage. 
Maybe so, maybe not — as we go to press. 




Photo by Wide World 

The bride and bridegroom go out stepping! 
Eleanor Holm and Arthur Jarrett, at a 
Sunday night dance at the Beverly-Wilshire 
hotel. Just to look at them you'd never 
suspect them of being honeymooners, would 
you? Oh, certainly not. 





Photo by Wide II 



Joel McCrea and Frances Dee "went and 

done it." And everyone's been saying for 

months that Joel was "just a big brother" to 

all the girls. 



Photo by Wide World 

Harry Joe Brown, Hollywood producer and 
director, and his bride, Sally Eilers. Their 
marriage contained every element of sur- 
prise for Hollywood, first because it followed 
so quickly Sally's secret Mexican divorce 
from Hoot Gibson, and, second, because the 
bridegroom, quiet, unassuming, greatly ad- 
mired and respected in a community that 
strives for the spectacular, was never sus- 
pected of romantic tendencies. 

(Continued from page 10) 
her cinema ambitions sufficiently to 
wilt them. Instead, Mae started a 
vogue that will net her a fortune be- 
fore they get tired of her so-called 
"restricted" talents. 

All Hollywood has been won- 
dering about the ultimate fate 
of Sylvia Sidney, who walked 
out on a Chevalier picture be- 
fore it was finished. She is now 
at home again. To Hollywood, 
walking out on a picture is the 
unforgivable sin. 

AND did Hollywood laugh about 
the elopement of Johnny Weiss- 
muller and Lupe Velez who came 
back from Nevada admitting that 
they had invested in a marriage li- 
cense but protested that it wasn't 
used. Just wanted something to 
frame and hang on the sun-porch, 
no doubt. But later they decided 
they couldn't keep up pretenses any 
longer and confessed. 

'TpHREE Hollywood celebs were in 
■■■ auto wrecks in one night — a pro- 
ducer, a director and an actor. The 
latter, Lyle Talbot, was the most se- 
riously injured. "Woody" Van Dyke, 
the director, was badly bruised in a 
collision which cost the life of the 



other car's driver. The producer, 
Jack Warner, miraculously escaped 
after a small car had crashed into 
his Rolls-Royce, wrecking both cars. 

A L JOLSON is going to try for a 
**■ come-back in a screen version of 
his last stage success, "The Wunder 
Bar." And it will be on the lot 
where he first won fame in pictures. 
The famous Mammy singer touched 
top and bottom in the pictures 
quicker than any star in the history 
of the industry. "The Jazz Singer," 
first feature picture to have sound 
and which revolutionized the cinema 
game, played to a gross of $2,000,000 
in the very limited number of thea- 
ters that could play talkies. A short 
time later when many more theaters 
had been wired for sound his next 
opus "The Singing Fool" did a gross 
business of $5,000,000, an enormous 
figure. Just a few pictures later a 
Jolson talkie played to little more 




Photo by Wide W 



The latest post-divorce picture of Carole 
Lombard and William Powell. Her "friendly" 
divorce was just that, because you'll see them 
everywhere together, just as attentive to each 
other as ever. Perhaps Barbara Stanwyck was 
right when she said that they are still madly 
in love with each other. 



than $200,000 a big loser for the 
producer. Show business has its 
eyes on Al. The wise ones repeat 
the old adage: "They never come 
back." 

POOR little Renee Adoree, the little 
French girl of "The Big Parade." 
She finally gave up the uneven strug- 
gle and her ashes are now mingled 
with the blue waters of the placid 
Pacific. That was her wish. A vic- 
tim of tuberculosis, Renee might-have 
beaten the white plague but the bat- 
tle was too much of a strain. She 
left the Arizona sanatorium much im- 
proved but far from cured more 
than a year ago. She hungered for 
the lights of Hollywood and familiar 
faces of its people. The doctors told 
her that any attempt to live the old 
life would end fatally but she just 
laughed at them. She had faced 
death so long that she had lost her 
fear of it and she wanted another 



12 



The Neiv Movie Magazine, January, 1934 






fling at life before Bhe bowed to the 

inevitable. Lut Hollywood will al- 
ways remember her and the game 
fight she put up. 

pHRISTENING parties are the 
^ latest in Hollywood. Of course, 

the first requisite is a baby and emu- 
lators will have some difficulty in 
keeping up with the pace started at 
the first one when there were two. 

The dual christening was given at 
Bing Crosby's newly built home at 
Toluca Lake when the crooner's first- 
born shared honors with the son of 
the Dick Arlens. It was quite an 
affair and most of the babies of film- 
dom and their parents were there. 

Bing has just moved into his new 
house which is a short distance from 
that of the Arlens. 

T OOKS very much like a palpitating 
*— ' public is going to be deprived of 
a look at Huey Long's life on the 
screen. For something like six 
months writers at First National 
have been trying to write a screen 
story which would provide enter- 
tainment, disclose the life of the 
stormy Louisiana statesman — so- 
called — and at the same time be ac- 
ceptable to the subject. 



Here's the pathetic gent who sticks his head 
out at you ot the carnival shows, and you 
throw baseballs at him. But this time it's 
Ed Wynn in "The Chief." The sign reads, 
"Socle him!" You get an Ed Wynn giggle 
for every sock. 




ted out with a title "The 
Kingfiah" and v. I 

completed • t is fact ion of the 

studio, contact was had with 
tor his okay. He gave it with 

couldn't ha'.-- any- 
thing in the picture which would re- 
the senator and he'd have t^ 
initial the ipt. 

That provided something 
problem. Nearly every thi ng 
has done has reflected on him, ac- 
cording to his critics. Again a 
was prepared and & i 

i slant at it. He -aid • 
pretty good but he wasn't going to 
give it his sanction because he had 
old to another producer the 
I 1'h ax, turn to pagt 16 i 




Mary Boland, who crashed smack into pic- 
ture fame in "Three Cornered Moon" and 
"Mama Loves Papa," in "Four Frightened 
People." Claudette Colbert, Herbert Marshall 
and William Gargan are the three others who 
are scared. 




It'orM 

Barnes, ca 



mcraman, and his wife, Joan Blondcll, chaperoning Dick Powell and the girl friend from the old 
Pittsburgh, Pennsylvania, Mary Lou Tucker. 



town of 



The Neiv Movie Magazine, January, 1934 



13 



Gr-r-r-r-r! 

A villain at work and at play — or scenes 
behind the screen in Movieland 




The comedy villain in "What? No Beer?" 



Photographed exclusively 

for The New Movie Magazine 

by Wide World 



But when John Miljan takes off his make-up and goes home — what a difference! 
Here he is shown crooning to John, Jr. He is an enthusiastic gardener and a great 
lover of flowers. One of the most contented, home-loving actors in Hollywood, 
off-stage he Is a complete paradox of his screen self. Yet, strangely enough, he 
prefers roles of villainly and dastardly deeds, and, believe it or not, his fan mail is 
enormous, particularly from women. They seem to like 'em bad these days. 



The menace in "Son of India." 




14 



The New Movie Magazine, January, 193 k 




I 



Photographed Arcttufcefy /<,r rile Nmc fl/ovit uTaffOfffftfl /, v BuffflM i:»h,,t Rfdtoe 



What is your verdict on Dorotheo Wicck7 Is she a new stor7 Tell us what you 

think of her in the new Paramount-mode "Cradle Song." Do you like her as 

well as you did in the German-made "Maedchen in Uniform"? 



The Neiv Movie Maaazine, January, 1934 



15 



^J^f^ 




{Continued from, page 13) 
screen rights to a book he was going 
to write about himself, so Warner 
Brothers might as well forget "The 
Kingfish." They won't do the pic- 
ture but it's going to be hard to for- 
get the Kingfish and all the dough he 
cost 'em. 

ACCORDING to 0. 0. Mclntyre, 
-'*■ Jack La Rue of the Paramount 
payroll carries a toothbrush in his 
vest pocket. Of course he really 
would carry it in the band of his 
hat except for his inherent modesty. 
He doesn't like to be a show-off. not*, iu wide worn 




DOLAND HAYES, famous negro 
•^ tenor, has written a story glori- 
fying his race and friends are try- 
ing to interest producers in it. With 
Paul Robeson making a hit in "Em- 
peror Jones," it is not unlikely that 
someone will follow it up with the 
Hayes story. The negro concert star 
is now staying in Santa Barbara. 

THE Writers Club on Sunset Boule- 
vard is again showing signs of life 
after a long period of inactivity and 
the old timers are glad to see it be- 
cause the club is the pioneer social 
organization in Hollywood and the 
only one that has anything like a tra- 
dition. It is perhaps the only place 
where Charlie Chaplin ever performs 
before anything like a public gather- 
ing and those who attended are still 
talking about his stunts at the re- 
cent dinner in honor of Walt Disney. 

Charlie had 'em in stitches with 
his bullfighter impression and then 
topped that with a French triangle 
in which he played all of the three 
angles. Funny thing about it is that 
the comedian speaks neither Spanish 
nor French but only a person famil- 
iar with those languages would have 
discovered it. 

The Disney dinner was followed 
by one tendered to Emil Ludwig. So 
it looks like the good old Writers is 
in for a fine revivication. A feature 
of the Disney affair was the appear- 
ance in person of the three girls who 
provided the voices for the "Three 
Little Pigs" and the composers of 
the famous, "Who's Afraid of etc." 

Oh yes, almost forgot to mention 
the fact that Will Rogers was there 
in all the glory of a light brown suit 
against a background of tuxedos and 
he had a lot of fun, closing his re- 
marks with a parody on the wolf 
song. And the photographer men 
took a lot of pictures of Charlie and 
Paulette who accompanied him. 

'TpHE 1934 Harold Teen of the 
-*- screen will be Hal LeRoy, the 
clever young dancer who knocked 'em 



16 



And this, for the romantically inclined, is 
the latest close-up of Lupe Velez, and her 
biggest heart-throb — and husband — Johnny 
Weissmuller. When Lupe was first accused 
of having married Johnny, she laughed and 
said she was having a lot of fun fooling the 
newspaper reporters. 





cuckoo in New York during the last 
two seasons. Young LeRoy made a 



Shirley Williams, twenty-one, hitch-hiked to 
Hollywood, with her dog, Tobyhanna. Ar- 
riving, she crashed the studio gates by giving 
imitations of animals for the benefit of the 
doormen. Now she's under contract to the 
sound recording department of Paramount. 
You'll hear her in "Duck Soup." 



Marlene Dietrich, back from her German 
vacation, and at work again. Her first pic- 
ture is "Her Regiment of Lovers," the Kom- 
roff story about Catherine of Russia. 



number of shorts for Warners and 
was unanimously selected by the 
casting officials after an inspection 
of various candidates. No relation 
to Mervyn LeRoy, the young direc- 
tor who is marrying into the War- 
ner family. 

JEAN HARLOW'S marriage to Hal 
Rosson, her cameraman, made her 
{Please turn to -page 18) 



The New Movie Magazine, January, 193b 



WEDDING 
BELLES 



Digging into the 
Old Family Album 




(Above) Elsa Whitmer and Neil 
Hamilton at the time of their mar- 
riage ten years ago. Neil is 
togged out for one of his stock 
company parts. 



Mr. and Mrs. Ken Maynard, from 
a snapshot taken ten years ago, 
at the time of their wedding at 
Arrowhead, where Ken was work- 
ing on location. 



The New Movie Magazine, January. 198), 



17 






{Continued from page 16) 
a member of one of Hollywood's pio- 
neer film families. For about twenty 
years the Rossons have been identi- 
fied with the pictures. Arthur, the 
eldest, is a director. He was with 
Doug Fairbanks for years. Dick was 
an actor for a long time and is now 
also in the directorial end of the 
game. He was once married to Vera 
Sisson, a star of more than a dozen 
years ago. Gladys is secretary to 
C. B. DeMille, a position she has held 
for about sixteen years and Helen 
Rosson used to play leads for the old 
American Film Studio. 

T> OWLAND BROWN, who is slated 
*^- by the gossips who are in the 

know as Jack Dempsey's successor in 
the marital career of Estelle Taylor, 
was a lowly gag man and technical 
advisor on gangster stories before 
becoming a director. Brown has been 
a sort of stormy petrel of the stu- 
dios and rarely finishes a picture 
that he begins. However he did 
complete "Blood Money" for Twen- 
tieth Century, thereby confounding 
a host of prophets. 

FORD STERLING, once famous as 
a Keystone comic, returns to the 
screen after a long absence as the 
White King in Paramount's "Alice 
in Wonderland." He will have com- 
pany. Louise Fazenda who also got 



Dorothy Mackaill, back on the screen again 

— and luck to you, Dot — with Ed Wynn in 

"The Chief." 



her start with Sennett will appear as 
the White Queen; Polly Moran, an- 
other Keystoner, will be the Dodo 
Bird. 

TIRING of Westerns, pretty Ce- 
cilia Parker who left a Hollywood 
convent to join the Fox company, 
has joined the comedies. She is now 
Andy Clyde's "daughter" in Educa- 
tional laugh reels. 

ADMIRALS, senators and congress- 
^*- men and their wives were guests 
of honor at one of the most lavish 
Hollywood luncheons ever given. 
Jack L. Warner, who was chairman 
of the Los Angeles mayor's commit- 
tee to entertain the visitors was the 
host and the scene was one of the 
big stages on the First National lot. 
There were thirteen admirals at the 
speaker's table, three United States 
senators, twenty members of Con- 
gress, one mayor and Will Rogers. 
Will's most quoted wisecrack, and he 
emitted plenty of them, was that the 
reason there were two congressmen 




Photo by Will Walling, 

Do you remember Leon Errol of the Follies, 
Leon of the rubber legs? Now you see him 
as Uncle Gilbert in "Alice in Wonderland." 





May Robson celebrates her fiftieth anniversary on the stage and screen. Here she is shown 
with Polly Moran, a friend of many years, and Lionel Barrymore, whom, long ago she knew 
as "that naughty Barrymore child." She first appeared on the stage in 1883 as Tilly in 
The Hoop of Gold." She has appeared in more than one hundred different plays, played 
some 38,000 performances, entertained some four million persons, and has traveled more 
than 38,000 miles on tour in the United States and Canada alone. 



What a thrill for Spanky! Borrowed from the 
Hal Roach comedy company to play with 
Richard Dix in "Forever Faithful," he im- 
mediately met up and became pally with 
Max Baer and Primo Camera, appearing in 
"The Prizefighter and the Lady." 



seated between two admirals was 
so that the former could observe the 
tools used by the navy men in doing 
away with the food. "After a boy 
has spent four years at Annapolis," 
said Will, "he at least has learned 
how to eat properly." 

Ruth Chatterton acted as hostess 
for the wives of the admirals and 
statesmen and the next day Mary 
Pickford entertained them at tea. 

T IFE at college after a spectacular 
-L-* career as a child star isn't at all 
a bed of roses. Jackie Coogan has 
found that out. Recently a columnist 
unkindly remarked that Jackie was 
not so popular at Santa Clara where 
he is in his sophomore year. So his 
{Please turn to page 101) 



18 



The New Movie Magazine, January, 193b 



THE 
NEW MOVIE 
MAGAZINE'S 



GALLERY 

OF 

STARS 



** 




Garbo, as the Swedish queen who 
was crowned "King," who ab- 
dicated her throne to marry the 
man she loved — Garbo, the Mag- 
nificent. This is her latest por- 
trait, the first one made of her 
in more than a year. 



, 




Photographed rrcltttirrly tor T\r \rir Ifnrff Maomirtr 6* Milton Itrovn 



The New Movie Magazine, January, 1934 



19 




Photographed exclusively for The New Movie Magazine bir John Miehle 

Clive Brook, star of "Cavalcade," one of the most sought-after actors in 
Hollywood, now in "Family Man." This is the latest portrait of the English 
actor who is rated as one of the most consistent performers on the screen. 



20 



The New Movie Magazine, January, 1934 







Phetooraphrd crrlunirrtv tt» T*'* Vrv Mnrif Maoaiinr t>v tnUtt .4. Rafkrfti-h 

You never tee Kotharine Hepburn in a conventional po«e. Thii, her latest portrait is no 
eitception. With "Morning Glory," this unique and eccentric actress definitely established 
herself in stardom. Now she comes with the most exacting role of her career — as Jo in "Little 
Women.' It is difficult to imagine her in the port but she s marvelous. 



UNUSUA 



The New Movie Magazine, January, 193b 



21 



EDWIN C HILL, radio's star reporter, interviews- 

The WONDER WOMAN of PICTURES 



The most remarkable interview that 
Marie Dressier has ever given, which 
presents in a new light the woman who 
has been in the spotlight for forty-four 
years — and is today the biggest box- 
office bet of pictures. 




YOU know, my dear," said Tugboat Annie, cross- 
ing her legs and setting fire to a cigarette, 
"there are three kinds of ladies in this world. 
There are ladies, perfect ladies and ladies, by 
heck! Me, I'm a lady. And I can prove it." 

"Not in the least necessary," I replied, all of a 
chuckle inside as I studied that map of Ireland face 
which owes not a thing in the world to the Auld Sod. 
"Oh, yes, it is," said Annie. "When a woman 
weighs as much on the hoof as I do, proof is required 
every little now and then. And here's my proof: any 
fat woman who can stand on her head in a perfectly 
decent, self-respecting way is a lady, me lad!" 

And she laughed, that grand old girl, Marie Dressier, 
until her sides shook in her stays, until 
her cheeks, cheeks pink as those of a 
young girl, were distended with the 
gusty vehemence of her mirth. 

Glowing and blooming with health re- 
gained, looking not a split second over 
forty-five — so help me by the Book! — 
although she is crossing her sixty-second 
birthday, America's girl friend, the 
greatest star of the chattering tintypes, 
was talking to me about this and that 
and other things, including a few car- 
penters and a flock of kings, in her suite 
at the Savoy-Plaza in New York. 

"Don't mind my comedy," Miss Dress- 
ier went on, in that low, beautifully 
modulated voice of hers (for don't think 
for a moment that the same voice which 
can blast down the side of a wall can't 
charm a bird out of a tree or the heart 
out of your breast), "don't mind my 
monkey shines, please. I'm feeling so well 
that I could actually kick a football down 
the Milky Way and then boot it clear 
over the Solar System." She who 
was about to check out of this 
sinful world (and how I love it!) 



Photo from Culver Service 



Two poses of Marie in her sixty-second anni- 
versary picture, "The Late Christopher Bean." 
Above, with Lionel Barrymore .... "The tact 
that I was never a beauty," she says, "has actually 
been an asset." 



22 



The New Movie Magazine, January, 1934 




"You know," Miss Dressier said to Mr. Hill, "I had to learn to laugh, for I had hard going when I was a girl, 
nighty tough sledding, ond it was a case of keeping my chin up and laughing out loud or taking the count." 



and is herself again. I wish I could tell you the 
story, but it's all tied up with a secret and a pledge 
and I have to keep mum until the world is ready for 
the secret to be released — the secret, mind you, which 
will save thousands of the doomed and bring to ten 
thousand homes unbelievable happiness. 

SHE paused for a moment, looking off into space, her 
mind for the moment going out along those dark 
and mysterious roads her gallant spirit so narrowly 
avoided. The living room of her suite was heavy with 
the scent of flowers — the loot of half-a-dozen hot 
houses, poured in upon Marie Dressier as a tribute 
from a score of devoted friends. She caught my eye 
as it wandered from vase to vase. 

"What fools atheists are," said Marie Dressier. "I 
haven't any special religion — any denomination or 
sect, I mean. I accept all religions as the spontaneous 
effort of the various races of mankind to acknowledge 
the existence of God, whether we call him God or 
Jehovah or Allah or Buddha. Who could look at a 
flower without sensing the existence of God? But 
this is no theological discussion. . 



"I was about to say that I am a happy woman for 
two big reasons. One is that I have got my health 
back again and ought to be good for another thirty 
or forty years (I expect to lead some poor deluded 
male to the altar about the time I'm seventy, but no 
hurry, no hurry!), and the other is that I can do 
something for my country in these tight, tense days. 

"You know, I'm one of those folks they call a 
patriot, and I don't mean maybe. For me it's my 
country, right or wrong, but my country. Pacifists 
make me sick. Every time we get into trouble we 
have an awful time getting out of it because those 
damned pacifists have hamstrung us with their minc- 
ing ways. Hell with 'em ! Where was I ?" 

"You were talking about the NRA and what you 
could do to help." 

"Oh, yes, so I was. Here's what I mean. The big 
thing about this whole recovery business is to get 
people to believe; to help them regain confidence, not 
only in their country and in their government, but in 
themselves; to get them to understand that the old 
American 'varsity has a star quarterback handling 
the ball. If he can't send (Phase turn to page 102) 



The New Movie Magazine, January, 193U 



23 



NOTHING but the TRUTH 

CONTRIBUTORS THIS MONTH: 

EDDIE CANTOR, SAMUEL GOLDWYN, B. P. SCHULBERG, WILLIAM 

C. DeMILLE, E. HALDEMAN-JULIUS, CLARA BERANGER, R. H. 

COCHRANE, AND FREDERICK L. COLLINS 




EDDIE CANTOR 



I CHALLENGE THE PRODUCERS! 

IT is my belief that the producers 
and their representatives in 
Washington who instigated the de- 
mands for a salary control board on 
actors' salaries used it merely as a 
smoke screen to stop a senatorial 
investigation of their ways and 
means of dissipating the stockhold- 
ers' money. These major producers 
know, or should know, that you can 
never set a maximum salary on creative talent. 

Some actors are overpaid if they receive fifty dol- 
lars a week, others are being underpaid at five thou- 
sand dollars a week. 

One star's name in front of a theater will pack 
the house. Another name will not only keep the 
people out, but the ushers themselves won't show up. 
The producers who squawked the loudest recently 
in Washington are the very ones who voted them- 
selves large salaries and fat bonuses and gave their 
stockholders such a raw deal that it makes Wall 
Street and its methods a Sunday School picnic. 

As president of the Screen Actors' Guild, I have 
pledged myself to fight these unscrupulous indi- 
viduals with everything at my command. It goes 
without saying that the entire membership and the 
honest producers in Hollywood stand back of me. 





SAMUEL 
GOLDWYN 



YOU CAN'T MEASURE GENIUS IN DOLLARS! 

^^ "^| T BELIEVE in a free market. It 

X is only in a free market that a 
man can get paid what he earns. 
I'd much rather pay a man one hun- 
dred thousand a year if he earns it 
than to pay a man one thousand a 
year who didn't earn it. I don't see 
how any law or any code can make 
it a crime, either. 

We've just seen the effects of a 
prohibition law that didn't prohibit. Nor did it 
make a crime of drinking. The motion picture in- 
dustry — and through the industry, entertainment — 
suffers not from actors who get paid too much, but 
from factors which laws of the United States have 
already taken into account. 

I think that anyone who wants to help us find an 
economic salvation will first show us how to prevent 
in the future any repetition of the stock manipula- 
tion, real estate speculation and reckless expansion, 
and the wholesale waste and extravagance in over- 
production, usually on pictures that the public 
never sees. 

If they think that good pictures are going to help 



us, they'll assist us in finding more of the Jackie 
Coopers and the Baby Leroys, the Marie Dresslers 
and the Wallace Beerys, who so fully earn all that 
they get out of it. Thev do us no harm. 




WHY MUST THEY LOOK BEAUTIFUL? 




N' 



CLARA 
BERANGER 



'O matter in what role or 
situation a Hollywood hero- 
ine finds herself, her beauty is un- 
disturbed. She may play a scene 
in the fields, on the desert, on the 
sea or in the jungle wilds, but al- 
ways her hair is set in even waves, 
her eyebrows plucked, her lashes 
beaded, her 'nails and skin perfectly 
tended, as though she has just 
stepped out of a beauty parlor — as, in fact, she has. 
This emphasis on the necessity for personal beauty 
in every situation takes the truth out of characteri- 
zations and destroys all sense of realism. 

For instance, in the first sequences of "The Song 
of Songs," when Marlene Dietrich was supposed to 
be a simple country girl, she wore country clothes, 
arranged her hair in peasant fashion, but made up 
her face as no country girl would or could make it 
up — even to artificial eyelashes. Her standard 
Hollywood make-up killed an otherwise good char- 
acterization. 

French and German pictures are 'way behind us 
in technical development, but are 'way ahead of us 
in the realization that honesty of character portrayal 
is more important than camera angles of standard- 
ized beauty. A comparison of "Maedchen in Uni- 
form" with Hollywood's "Zoo in Budapest" will 
illustrate my point. In both pictures there were 
girls wearing uniforms of an institution. The Ger- 
man girls had on no theatrical make-up ; they looked 
like regular school girls. The American girls, with 
the usual Hollywood garnishing, looked like a 
chorus. The heroine of the German picture was a 
simple, natural young-girl type. Loretta Young, the 
Hollywood heroine, was the immaculate beauty, even 
after she had been immersed in the lake (although 
the mascara did drip down her face). 

Let us have more real faces and fewer beauty- 
parlor masks, and you'd be surprised what a differ- 
ence it would make in giving reality to the char- 
acters and truth to the whole picture. 



ffi^^ef 




/ 



24 



The New Movie Magazine, January, 193k 



The first editorial forum in any film magazine where you can read the unbiased 
facts by writers who dare to tell the truth. The editors have told the contribu- 
tors that there will be no blue pencil on any opinions they desire to express. 
New Movie will be glad to receive any contributions for this forum designed 
for the free expression of honest thought and conviction. 



WHO'S AFRAID OK THE MOVIE CODE? 



WHO'S 
wolf?" 



afraid of the big bad 



rji 

Jf> I | The big, bad wolf is the new 

> ^k NRA code which is to govern the 

^L _•__ !B motion picture business during the 

^L ^>^B next eighteen months or more. 

■^F^H I Like everybody else in the mo- 

^^^■^ ^^™ tion picture business, I was afraid 

r.h.cochrane of anything new, especially a new 

code drafted under a new law by a 

Congress which acted in a hell of a hurry. 

So, when I went to Washington with other men 
of the movie industry, including representatives of 
all branches of it, I wondered whether I could come 
home with a whole skin or none at all. 

For nine weeks, like everybody else, I fought 
shadows. I argued hither and yon, back and forth, 
and even to and fro, about things which might hap- 
pen under the new code. Like my old pal, Shake- 
speare, I died a thousand deaths anticipating the one 
which I will eventually die. 

So did the actors and the producers and the dis- 
tributors and the poster makers and the women's 
clubs and the pottery makers (because pottery 
makers make pots which theaters give away as 
souvenirs) — and so did their cousins and their sisters 
and their aunts. 

I argued at the top of my voice, because I dis- 
covered long ago that in the motion picture business 
the man with the loudest voice and the man who 
interrupts most frequently wins the greatest number 
of arguments. 

And what came out of weeks of arguing and yell- 
ing and code-fearing? Nothing but a mouse in the 
form of a code which won't hurt anyone but the 
crooks of the business. 

The new motion picture code is bad for the un- 
ethical; bad for the dishonest; bad for the trickster. 
For any decent man with decent instincts, it contains 
nothing but protection. 

The code is not a big bad wolf, but just a decent, 
respectable code of ethics for ethical men. All others 
can go to hell and probably will. 




A KANSAS HICK ON TRAILERS! 




N' 



'OT that it's important to you, 
but it happens that I live 
down in southeastern Kansas, in a 
town of only 2,600 people. Good 
roads stretch in all directions — 
north to Kansas City, south to 
Tulsa, west to Wichita, and east to 
— well, the Atlantic Ocean. Being 
a hopelessly lost movie fanatic, I 
find those roads useful, for I think 

nothing of driving a hundred miles to see what I 

hope will be a good picture. 



E. HALDEMAN 
JULIUS 



Naturally, I have to depend a good deal on such 
things as trailers. 

The publicity department of a movie studio must 
give a great deal of thought and effort to these trail- 
ers. They are supposed to bring the customers back 
for more. But I'm here to say that such is not always 
the case. In my experience, it frequently happens 
that a trailer will warn me, in all seriousness, to 
stay away. 

If only the publicity department knew how dan- 
gerous a thing it is to let the public take a free look 
into a few scenes! If I were connected with the in- 
dustry I'd be careful to give pre-views only of those 
pictures that are very good and then ballyhoo the 
bad ones with adjectives and loud-sounding phrases. 

Language can deceive, but pictures can't. 

Here are some sure-fire means of deciding me 
against a film : 

A trailer that shows a woman (or a man, for that 
matter) shouting, "Get out! Get out! Get out!" 
That's supposed to be very dramatic. It makes me 
positively ill. When the director can't think of any- 
thing else with which to close a scene, he has his 
slave yell: "Get out! Get out! Get out!" That means, 
to me, just one thing — "Stay out ! Stay out ! Stay 
out !" 

A trailer that shows any kind of a dressed-up 
mystic moaning: "I see that which will give me 
power over the world — " 

A trailer that shows a child prodigy bawling real, 
real tears. (I was wrong once about this, but that 
doesn't mean there's nothing to what I say.) 

A trailer that has more than one "OK." in it. 

A trailer that emphasizes the "problem" theme — 
What should a wife do if — What would you do if 

your husband ? Should the wife tell 

about her single mistake? 

Yes, trailers are a great help in advising me what 
pictures not to see. 

Well, I must stop now, because my car is ready 
and I must leave for a forty-five-mile drive to Joplin 
where I am to see the new Mae West picture. 

SOMETHING FOR NOTHING 

AND so Washington is investi- 
gating the high salaries of 
movie stars! 

It is saddening to think of a 
wealthy, powerful and well-man- 
aged corporation like Paramount 
being wrecked by the grasping little 
hands of Baby Leroy. The mind 
wm. c. DeMiLLE whirls in contemplating proud 
Metro-Goldwyn-Mayer staggering 
from a financial punch administered by the cruel, 
merciless fist of Jackie Cooper. 

Is the Government powerful enough to protect 
helpless producers from such doughty foemen? For 




"V 



Mk 



The New Movie Magazine, January, 19.14 



25 



NOTHING BUT THE TRUTH! 

The Most Fearless Expression of Opinion in Any Film Magazine 



in one short year, it is said, Baby Leroy has 
reached the earning capacity of the President of the 
United States. We must remember, however, that 
when the President was one year old there were no 
motion pictures and so Baby Roosevelt was denied 
a similar opportunity. That, if you like, is injustice, 
but that is the price we must pay for the progress 
of the race. 

At any rate, let us by all means have a law to 
curb generosity of the producers; let the Govern- 
ment come to their aid and check their uncontrolla- 
ble impulse to pay artists more money than they 
are worth. 

Most of the actors, writers and directors who draw 
down big Hollywood money are not trying to hold 
up anybody; so there can be no doubt that their 
over-payment is entirely altruistic on the part of 
the executives. 

It is evident, too, that if the artist should be de- 
prived of a competitive market for his services it 
would help convince producers that actors, writers 
and directors don't really make the picture at all 
and should not be considered as part of the cost. 

In this year of grace, if a goose has the rare ability 
to lay a golden egg the poor bird finds itself in pos- 
session of illegal metal and in danger of arrest for 
hoarding, and yet by all the laws of nature the egg 
is primarily the property of the goose. 

The question in the motion picture world today is 
not only whose is the egg, but who owns the goose? 

At any rate, if the purpose of Washington is to 
effect a complete redistribution of the nation's 
wealth, I can think of no surer, quicker or more com- 
plete method than to give it all to the actors. They 
can use it! 



c£JL 



IS THE ACADEMY WORTH SAVING? 

THERE are some people in 
Hollywood — and I don't need 
to mention names, because every- 
body in the industry knows who 
they are! — who have been putting 
the Academy of Motion Picture 
Arts and Sciences on the spot. 

It isn't any ordinary spot. It is 
a spot red with the blood of movie 
martyrs. 

Strong men founded the Academy. Other strong 
men have guided its destinies. In their hands, it has 
performed many useful services. But these strong 
men have retired from the movie wars — and in their 
place has grown up a race of pygmies. 

I remember the meetings of the Academy back in 
the days when the so-called wise men of the industry 
were saying that this new-fangled talkie thing was 
just a fad. I remember Conrad Nagel, the actor, 
and William DeMille, the director, getting up in the 
one forum that was open to them and telling the in- 
dustry where it got off. 

Somebody — perhaps not an actor or a director; 
perhaps a producer — ought to get up in that same 






FREDERICK 
COLLINS 



forum today and tell the industry where it gets off. 

Instead, thanks to a cunningly conceived plan to 
demoralize and discredit the Academy, the men and 
women who should be fighting the common enemy 
are now fighting among themselves. 

In 1928, the frank and open discussions at the 
Academy saved the motion picture industry millions 
of dollars which might otherwise have been frozen 
forever in unwanted silent films. 

Today, in this crisis of salaries and codes, the lack 
of this same frankness and openness, and the 
presence of sniper warfare from separate camps 
which has succeeded it, will cause the loss of many 
more millions — and this time, the motion picture in- 
dustry cannot afford to lose anything. 

The men and women who have left the Academy 
should come back. If their usefulness as leaders is 
over, they should be glad to serve in the ranks. 

The Academy was the first — it is still the only — 
symbol of unity in the motion picture industry. It 
must be saved ! 





b. p. 

SCHULBERG 



A PRODUCER SPEAKS HIS MIND 

THE actors and writers who 
have protested against the de- 
sire and purpose of the New York 
producing heads to limit the salaries 
of their Hollywood employes have 
overlooked entirely the fact that a 
great army of mediocre talent has 
always been excessively overpaid. 

This is the secondary layer of 
Hollywood personnel composed 
neither of great artists, great directors, nor of cre- 
ative executives. And this is where we must go if we 
want to stop the huge Hollywood waste which 
should properly go either to the creative artists or to 
the greatly underpaid hard-working studio help. 

Certainly it is true that the great creative artist, 
whether he be actor, writer, director or production 
executive — and I distinctly include studio producing 
executives among the creative branches of the indus- 
try — has as much right to earn excessive salaries as 
great lawyers, great doctors, great engineers, great 
bankers or great industrialists. 

It is my opinion that, if producing companies seek, 
by taking a technical advantage of the code, to give 
their important creative employes less than they 
are worth, the latter will revolt and form their own 
companies with their own financing. 

If this happens, the large companies will have to 
absorb them on a basis that will restore to the 
creative employes, whether player, writer, director 
or executive, what they justly should earn. As for 
those who are not great — they, like their mediocre 
brothers in every other walk of life, will have to be 
content with less. 



26 



The New Movie Magazine, January. 193h 







Being certain lively remarks on l ^^^ 
what it means to be obscured by ^r i 
the shadow of the great 






N^B 


■ 




BILL 18 ** 
VALLEE^ 5 





Photograph by Krppla 



Brother of a Celebrity 



MUCH has been said, both 
pro and con, of the de- 
lights of being a celeb- 
rity's brother. It is, I'm 
afraid, the common or garden 
variety of opinion that such is the 
nearest approach to a heaven on 
this earth. Other and .more plethoric individuals 
(mostly in skirts) have the notion that the mere fact 
that you are the brother of a celebrity carries with it, 
per 8e, inestimable joy. May I from this rostrum 
deny the joys so easily visualized by Mr. and Mrs. 
and Miss Public? 

Since these simple words will perhaps go a long 
way toward making my life simpler and happier, may 
ablish my right to speak on this subject by ex- 
plaining thai I am the brother of one Rudy Vallee, 
an .air personage? Perhaps it is best here at this 
point that I explain that there is naught of personal 
rancor in this monograph. That I respect, admire, 
nay love, the individual is beyond all doubt. That, 
however, I resent being cast as the brother is, or will 
be, equally beyond all doubt. With everything so 
carefully established may I proceed? 

TT is hardly necessary to outline the career of R 
*■ (Rudy, to me). Anyone who has read this maga- 
zine is quite familial - with the rise and continued suc- 
cess of Charley Vallee's boy, Hubert. What you didn't 
know was my side of the case, but after you finish 
reading this, there won't be any more of that ! 

To start with, let's take yesterday. Early in the 
morning the phone rang. Beating the butler to the 
instrument, I listened to a pleasant voice. The 
pleasant voice asked for R. Sorry, but Mr. Vallee 

The New Movie Magazine, January, 1934 



Bill Vallee himself. If you don't aslc him 
about Rudy, he may tell you about himself 
■ — that he was born in Maine, took a shy 
at amateur theatricals, went to New Yorlt 
to study art, then tried Fordhom and 
Columbia universities, graduating into the 
advertising business. 



emergencies), 
good, in fact, 
started to say 



wasn't awake. He had worked 
late last night and would prob- 
ably sleep late today. Was there 
anything I could do? 

Who was this? Why, his 
brother, just his brother (.in the 
meek tones I affect for such 
Yes, the new program was good, quite 
Was it true . . . the pleasant voice 
and the talk gurgled off to the com- 
monplace remarks used by the majority of callers. 
What was wrong with this picture? Nothing except 
that I knew the caller and would have been quite satis- 
fied if he had only asked me how / was! 

The morning papers held several misstatements and 
a columnist had called him a dirty name. Both re- 
quired several calls in the interest of fair play, and 
so, of course, my hot breakfast became cool. Pardon, 
I mean cold and quite cold. 

T EAVING the apartment I stumbled over a mega- 
■*-' phone. Picking myself up, I quit the domocile 

hastily. The lobby held a girl who searched my face 
eagerly and then snapped her autograph hook closed. 

The office produced several inquisitors who managed 
without any apparent aid to think up several questions 
like these: 

Q. What does he like best'.' Ans. Well, he's very 
fond of eating. 

Q. Does he breathe from the chest or the abdomen? 
Ans. From both; he's quite impartial. 

Q. What does he dream about? Ans. Food. Thick 
steaks a la Mannie. 

Q. Does he take dope? Ans. No, but apparently I 
am taking one seriously. (Phase turn to page 85) 



27 



MEN I HAVE LOVED 




Photo by Wide World 



THEEE have been thirteen 
men in my screen life. 
Thirteen film lovers, each 
one completely different 
from the others. And, when 
you count Laurel and Hardy, 
my very first lovers, it makes 
a grand total of fifteen. But 
you could scarcely call the 
amorous antics of those two 
gentlemen, the small and meek 
and the fat and coy, serious 
love-making. They belong in 
a class by themselves. 

However, you can't discount 
the importance of Stan and 
Babe. I can't imagine a more 
educational course in screen 
love-making than that afforded 
by these two gay Lotharios. I 

learned about timing from them — just how long to 
hold each gesture, each motion, in order to build 
laughs. A short time ago, when Lee Tracy and I 
were doing a rapid-fire comedy scene in "Bombshell," 
I remembered the serious Stan Laurel's wise words : 
"Don't rush your laughs. Time each action carefully 
to build a climax." 

Laurel and Hardy remained only a short time in my 
life. But I shall never forget them and the Hal Roach 
Studio with its friendly, homey atmosphere. It didn't 
seem like a picture manufacturing plant. It was more 
like a continual family reunion where the members 
discussed one topic only gags. 

A new gag could bring a light to the eyes of Stan 
and Babe which no love scene could ever produce. 
They weren't very satisfactory lovers, as screen lovers 
go. I always had the feeling, when they held me in 
their arms, that they were mentally counting the 
clicks of the camera in order to be sure that the tim- 
ing was perfect. 

With the passing of Laurel and Hardy, Ben Lyon 
and Jimmy Hall entered my life. They were grand 
boys and experienced at love-making. But they were 
casual and friendly. They fairly exuded brotherly 
interest. I knew that I was but a passing phase in 
their busy young lives. 

In the first place, I was sort of a protegee of the 
two. They discovered me, when I was working in an 
obscure comedy scene at the Christie Studio. They 
literally took me by the hand and led me to the office 
of Howard Hughes, with the announcement that they 
had found the right girl for the picture, "Hell's 
Angels." I felt the same unsureness that Mr. Hughes 
looked. But he gave me a test. When I was given 
the role in that so-much-talked-about picture, Ben and 
Jimmy were as proud as peacocks of their "discovery." 

Then, having dragged me out of my short comedy 
career and launched me in the feature class, they de- 
voted their time and attention to helping me make 
good. They had been working in "Hell's Angels" for 
three years. Finally, it had been completed. 

Then along came the talkies and most of the picture 
had to be re-made with sound. Greta Nissen, who 
had been the girl in the silent version, was tied up 
with other contracts and couldn't re-make the picture. 
So I was given my chance. 

Now, if there's anything not conducive to romance, 
it's a brotherly interest. And two brotherly interests 
complicate matters still further. The only time either 
boy dropped that protective attitude was when the 
actual "shooting" was taking place. Then they were 
ardent enough to please any girl. But, the minute 
the cameras stopped, they became my serious advisors 
and instructors. 



If you had had thirteen men make 

devoted love to you — love-making 

witnessed by millions — what would 

be your emotional reaction? 

Jean Harlow and her bridegroom, Hal Rosson. 



For the first time, a famous star's revelations of what 
she thinks of some of the great Lotharios of the films 



Naturally, I was terribly nervous and excited about 
the picture. It was my first big chance. The boys 
knew and understood. And they were almost as ner- 
vous and excited as I was, trying to help me. I hope 
some day to make another picture with Ben and 
Jimmy, now that I'm more used to the camera and 
microphone. 

WHEN we finished "Hell's Angels," I felt almost 
like a veteran. Then I met Lew Ayres and we 
worked together in "The Iron Man." He was so young 
and so sort of naive, the kind of sweetheart every high 
school girl dreams about. 

I liked to watch him smile. His whole face seemed 
to glow. He and I were bound together by the bond 
of a mutual desire to please everyone. He took away 
from me all the sophistication which I thought I had 
gained in the torridness of "Hell's Angels." 

We used to talk between scenes, long and seriously, 
about our hopes and ambitions, as very young people 
do. And there was a serious, youthful intensity in 
his love-making, a far cry from the smooth experi- 
ence of Ben Lyon or the exactly-timed buffoonery of 
Laurel and Hardy. 

Then Lew's youthfulness faded to make a place for 
the more mature strength of Jimmy Cagney. Jimmy 
was riding at that time on the crest of the wave of 
sock-'em-on-the jaw popularity. In his whole-hearted 
laughing, Irish way, Jimmy made fun of that popu- 
larity. He was about as "tough" off the screen as 
Wally Beery, who was to come into my life many times 
later. 

Working in "The Public Enemy," with Jimmy, was 
one never-ending round of fun. Jimmy's sense of 
humor is as potent as his fist. In the midst of the 
most dramatic scenes, he would murmur some fool 
remark under his breath, without moving a muscle of 
his face. The rest of us weren't so skilled in the art 
of keeping a poker-face. 

But, like all laughter-loving Irishmen, Jimmy had 
a sentimental phase. And he possessed a- great sense 
of the dramatic. All of us, who worked with him, 
could feel an electric vibration when Jimmy really 
threw himself into a dramatic scene. He was the 
strong, conquering lover — the kind so many women 
with gentle, considerate husbands and sweethearts 
cecretly dream about. His was an unpolished forc3, 
completely masculine. 

NEXT came "Goldie" and Spencer Tracy. The 
step from the brusqueness of Jimmy Cagney to 
Spencer's slower, more deliberate love-making was a 
breath-taking one. Almost every girl, at some time in 
her life, has known a man (Please turn to page 82) 



28 



The New Movie Magazine, January, 193 U 



on the SCREEN ^ 



By JEAN HARLOW 



As told to Eleanor Packer 



Clark Gabie 




Some of the men 

who have made love 

to Jean Harlow in 

the movies. 



Photographed exclutteely for 

The Yew hlorie Mogoaino bg 

lurrtll 



The New Movie Magazine, January, 19SU 



29 




After a Continental concert tour that amounted virtually to a continuous 
ovation, the gorgeous, golden-throated Jeanette MacDonald comes to the 
screen again, first In "The Cat and the Fiddle," with Ramon Novarro and 
Nelson Eddy, and next — or so the story goes as we go to press — with Maurice 
Chevalier in the beautifully melodious "Merry Widow." 



30 



The New Movie Magazine, January, 1934 



Meet the PUPPETS! 




Hollywood's 
ends togeth 
house. By 



III here to tell you about a Sixteen members 

crowd Of movie Stars, who Louise, ossistant 

took an old-fashioned house Blackwell, Gertru 

and completely remodeled Standing: Frank 

, . . , . f, .• it '4.u Dianne Axzelle, 

and furnished it, practically with- 
out cost, making new furniture 
out of old, dressing tables out of 
orange crates, beautiful flower 
gardens from a weedy field — and 
above all, an old Western saloon 
from a two-car garage. 

No? You don't believe me? 
Well, step right up and meet the 
Puppets, Hollywood's newest club 
made up of filmland's younger 
stars. They have formed this 
club in a common interest — to en- 
joy themselves at the least cost. 

Anita Louise and Tom Brown 
decided, one bright day, that it would be a swell idea 
if all the "kids," like themselves,- who knew each other 
back East, could get together, form a club, rent a club- 
house, give shows and have a good time. It would 
keep them all together and give them a place to go in 
the evenings after work, and during the days when 
they weren't busy on a picture. 

Tom and Anita presented the idea to the Durkins — 
Junior, Grace, and Gertrude — and to Joseph DePew, 
Helen Mack and William Janney. All of them went to 
school together, acted in the same plays, and enjoyed 
the same parties in New York. They thought the 
idea a great one, and those eight became the charter 
members of the Puppets Club. 

NOW, here's the idea," said Tom. "We'll draw up 
a constitution, but instead of having it in the 
same old cut-and-dried form, we will make all the rules 
and regulations in picture language. Instead of hav- 
ing a president, vice-president, secretary and treas- 

The New Movie Magazine, January, 1934 



of the Puppets, posed on the club grounds. Front row: Anita 
director; Tom Brown, director; Helen Mack, script girl; Earl 
de Durkin, chief cook and waitress; and Ben Alexander. 
Losee, Grace Durkin, Henry Willson, author of this article; 
Tex Brodus, Kathryn Lee, Bob Horner, Maurice Murphy, 
Patricia Ellis and William Janney. 



younger stars put some odds and 
er and — presto! — they have a club 

one of them — HENRY WILLSON 



urer, we'll elect a head person, who will be the director 
of the club. Then we will elect an assistant director, 
script girl and cashier." 

Tom was elected director, Anita Louise, assistant 
director, Helen Mack, script girl, and William Janney 
was voted cashier. 

No sooner said than done! A constitution was 
drawn up, dues set, initiations for new members 
planned — and the Puppets Club was on its way to 
fame. The charter members decided to get about 
fourteen new members right away, then choose a 
clubhouse. 

"After that," suggested Anita Louise, "let's give a 
show, invite all the picture stars and give the pro- 
ceeds to charity." 

"Swell, but let's get the new members and decide 
on a clubhouse," suggested Helen Mack. "Then we 
can talk about the show." 

So Patricia Ziegfeld, Ben Alexander, Maurice 
Murphy, Patricia Ellis, (Please turn to page 78) 



31 



NEW PICTURES You 




With this issue New Movie Magazine begins the most frank and 
fearless review of current motion pictures ever published by any 
film magazine. They are written by Frederic F. Van de Water, 
noted author and critic, but they were not written from the angle 
of the professional critic but from the angle of the audience. The 
editors will be glad to hear just how much you agree with Mr. 
Van de Water's opinion of the new pictures 

By FREDERIC F. VAN de WATER 



PICTURES this month reach back as far as the 
Sixteenth Century for their source material and 
range, geographically, from the Arctic to the 
pampas of South America. They include two films 
either of which, by itself, might be hailed among the 
best of the year — "The Private Life of Henry VIII" 
and "Berkeley Square." Among them, too, are several 
that lack only one ingredient for conspicuous success. 
"The Bowery," "I'm No Angel," "My Woman," 
"S.O.S. Iceberg" and "Before Dawn" are finely photo- 
graphed. They have competent direction and most of 
them are weighed down to the loadline with excellent 
actors. Every one of them suffers from story trouble. 
It is possible that some day Hollywood will wake to the 
realization that if you haven't anything worth shooting, 
it's better not to open fire at all. 




Charles Laughton has humanized many monsters of fiction and 

history. In "The Sign of the Cross," he clothed Nero in mortal 

flesh. His lusty, lustful Henry VIII is a great achievement. 

Story trouble hampers Wallace Beery in "The 
Bowery", story trouble hurts a magnificent Arctic 
exploration picture, "S.O.S. Iceberg." No month that 
sees both "Berkeley Square" and "The Private Life of 
Henry VIII" can be in the red, however, and, besides 
these two great pictures, "Night Flight," "Ever in My 
Heart" and "Saturday's Millions" are worth seeing. 

The Private Life of Henry VIM— AA 

Directed by Alexander Korda. Released by United Artists 

ALEXANDER KORDA, who has directed this mag- 
•f*- nificent picture has been chiefly remembered for 

32 



his calamitous film version of John Erskine's best seller. 
"The Private Life of Helen of Troy." If Mr. Korda's 
first "Private Life" were better forgotten, his second 
is memorable. In it he has accomplished all those ex- 
cellences that people have come to expect only from Ger- 
man superfilms, and has done them better. 

Whether the Lord has laid an inspiring hand on Mr. 
Korda, or whether his "Henry VIII," being made in 
England, was immune to those importunate hands that 
guide directors in Hollywood, is a problem for others to 
solve. This much is certain: Mr. Frank Lloyd will 
have to move over a little on the seat of the exalted 
and make room for Mr. Korda. 

Charles Laughton has humanized many monsters of 
fiction and history. In "The Sign of the Cross," he clothed 
Nero in mortal flesh. His portrayal of the lusty and 
lustful Henry of England is a still greater achieve- 
ment. 

Here is a picture, superbly directed, splendidly photo- 
graphed and played by a British cast who wear their 
costumes not like fidgety guests at a fancy dress party, 
but as though they had lived their lives in such rai- 
ment. Through this brilliant host lurches and blusters 
the bulky figure of England's marrying monarch who, 
despite his hobby for collecting wives, was a great 
king. 




Leslie Howard's performance as the bewildered, then wistful, then 

heartbroken victim of time, in "Berkeley Square," is one of the 

finest the screen has reflected. 

The New Movie Magazine, January, 193 A 



Should Seeand Why 



MR. VAN DE WATER'S 

CLASSIFIED RATING OF 

CURRENT FILMS 

(AA — Outstanding) 

Berkeley Square 

The Private Life of Henry VIII 

(A — Good) 
Ever in My Heart 
Night Flight 
Saturday's Millions 

(B— Fair) 
The Bowery 
I'm No Angel 
My Woman 

(C — Average) 
S.O.S. Iceberg 
Before Dawn 



Flashes of that greatness burst through Mr. Laugh- 
ton's portrayal. Disappointed by Katharine of Aragon, 
betrayed by Anne Boleyn (Merle Oberon), Henry waits, 
fuming and fretting, for the cannon signal from Lon- 
don's Tower that will free him to wed Jane Seymour 
(Wendy Barrie). Jane dies in childbirth and Henry 
turns from domestic products and imports her suc- 
cessor, Ayine of Cleves, played by Alice Lanchester who 
in private life is Mrs. Charles Laughton. 

Before Anne arrives, the king's roving eye is caught 
by Kathryn Howard (Binnie Barnes), who weighs the 
love of Thomas Culpeper (Robert Donat), lord-in-wait- 
ing to the king, against her dangerous longing for a 
crown. 

How Kathryn gains the diadem only to lose this and 
her head is the major theme of a picture that glows 
in the gusty flame of a great king's personality — whim- 
sical, lustful, peevish, comic but blazing, when occasion 
demands, with majesty and power. 

Mr. Laughton has deserted the films temporarily. He 
joined an English repertory company at $100 a week, 
for he feels his acting needs improvement and back- 
ground, which only proves that some fifty million film 
fans must be wrong. 

High Spots: The face of Anne Boleyn, stark against 
the sky beneath the bitter line of the headman's blade; 
Henry, forgetting Jane Seymour's death in bubbling 
joy at his son's cradleside. . . . Laughter at the king's 
jest spreading slavishly through the whole palace. . . . 
Henry, trying to explain the facts of life to Anne of 
Cleves . . . the old and failing monarch bullied by Wife 
No. 6 (Everlcy Gregory). 

Berkeley Square — AA 

Directed by Frank Lloyd. Released by Fox 

*TpTIE young antiquarian, Peter Standish (Leslie 
A Howard) inherits an old house in London's Berkeley 
Square. Thither, one hundred and forty-nine years 
before, the Continental army captain, Peter Standish, 
has come to wed his kinswoman, Kate Pettigreiv 

The New Movie Magazine, January. 1934- 



(Valerie Taylor). The twentieth century Peter steps 
back through the years and takes the place of his 
eighteenth century ancestor. 

Out of this .fantastic situation. .Frank Lloyd and Mr. 
Howard have made a lovely and tragic story. Pei 
whirled into the past, finds himself in love, not with 
Kate, whom his ancestor married, but with her intui- 
tive younger Bister, Helen (Heather Angel). Eight- 
eenth century London first laughs at Peter's blunders, 
then dreads him as devil-possessed; but Helen recog- 
nizes him as a wanderer from another century. After 
brief happiness, time's stream sweeps Standish back 
into his own era. 

This is a theme that is as delicate and difficult 
to reproduce as moonshine, but it has been made into 
a picture of great pathos. A second laurel wreath, quite 
as large as Mr. Lloyd's, should adorn the bald brow of 
Jesse L. Lasky. "Berkeley Square" was a stage hit 
years ago. Its film rights have been long on sale with 
no bidders. Only Mr. Lasky, of all the story-destitute 
film chiefs, had the foresight and the courage to pur- 
chase and produce it. 

Mr. Howard's performance as the bewildered, then 
wistful, then heartbroken victim of time, is one of the 




"Night Flight" features Clark Gable, Robert Montgomery, Lionel and 
John Barrymore, Myrna Loy and Helen Hayes (above). 



finest a screen has ever reflected. The cast that sur- 
rounds him is scarcely less able. 

High spots: Sir Joshua Reynolds' (Olaf Hytten) 
alarm when Standish speaks familiarly of pictures the 
artist has not yet painted. . . . The dawn of comprehen- 
sion on Helen's face as she watches Peter's blunders. 
. . . The Duchess of Devonshire's terror when Standish 
speaks of her as one long dead. . . . The noise of today 
breaking in upon the quiet of the Eighteenth Century 
as Peter's dream fades. 

I'm No Angel — B 

Directed by Wesley Ruggles. Released by Paramount 

THIS month may also mark the beginning of Mae 
West's slide down from her current peak of popu- 
larity — unless she does something different. In "I'm 
No Angel," she repeats the formula that brought her 
such immense original success. No trick is quite so 
good the second time it's played, and Miss West's 
formula has been simple. 

By all fictional traditions, stage, screen and print, 
the life of the light lady has always been simply ter- 
rible. Her wages of sin have been bitter and paid a 
hundred and ten cents on the dollar. The daughter of 
joy never has had a break. Miss West has turned 
tradition hindside before and has given her a break. 



33 



NEW PICTURES YOU 



Her "fallen woman" has let men fall while she has 
triumphed. To an audience, the novelty of the situa- 
tion has been delightful. The pursued rabbit has 
turned around and bitten a mouthful out of the dog. 

The trouble with novelty is that it doesn't bear 
repetition and Miss West, this time, has merely recited 
her formula again. Furthermore, she has weakened 




Lucian Cary's novel, "Saturday's Millions," has been turned into 
one of the better football films that centers less upon the game than 
the racket behind it. Robert Young and Leila Hyams are featured. 

her performance by moving her scene out of the Nine- 
ties into the present. 

The woman she plays was grampaw's type, not his 
grandson's. Miss West in "I'm No Angel" simply isn't 
the character of which men of 1933 and 1934 give their 
all, or a negotiable fraction thereof. 

Mae West in her second self -written starring vehicle 
has taken off her stays and marred her performance. 
She has shifted her scene from the Nineties into the 
present, but her technique is still that of the Tenderloin. 

Something has gone out of Miss West's art along 
with the fulsome curves that sent the gynecologist's 
convention at Chicago into professional raptures. The 
chief fault with her present role is that, as she plays 
it, it is doubtful whether she could lure a third-rate 
chiropodist. 

Tira, in "I'm No Angel" is a lady of double-barreled 
professions. One of them is lion tamer. The film traces 
her rise from the job of sideshow star to a place in 
New York society, secure, though not blessed by the 
Social Register. 

During her progress, Tira skips from man to man 
with the deftness of a "Tom Show" Eliza on the ice. 
The best sequence is the courtroom scene in which she 
manages her own breach of promise suit. 

Miss West's slurring voice, her continual exemplifica- 
tion of the physiology textbook's insistence that the 
hip is a freely movable joint, her end-of-the-last- 
century toughness simply doesn't belong in a film laid in 
the present. Men aren't like that. Neither are women. 

Fine photography, expert direction, a good cast, ex- 
cellent backgrounds and lighting — and a sour story. 

High spots: Tira spraying the bare back of a rival 
with a mouthful of liquor. . . . Tira discussing her 
amatory technique with a quartet of negro servitors. 

Night Flight— A 

Directed by Clarence Brown. Released by M-S-M 

TyELLERIN (Robert Montgomery) brings the San- 
*- tiago mail plane across the Andes through a spawn- 
ing cyclone. Fabian (Clark Gable), who flies the mail 
up across the pampas, is blown out to sea and death 
by the same tempest. Despite this disaster and the 
anguish of Madame Fabian (Helen Hayes), and the 
protests of his board of directors and the qualms of 
his subordinates, Riviere (John Barrymore), manager 



of the line, sees that a plane departs on time for the 
company's pioneer trans-Atlantic flight. 

That is the story of the twenty-four hours spanned 
by "Night Flight." Upon the film has been spent a 
profligate amount of talent. Gable and Montgomery, 
Lionel Barrymore and Myrna Loy have bits. Helen 
Hayes, save for one hysterical scene, has little more. 
The picture centers on John Barrymore, the ruthless 
line manager. He holds the enterprise greater than 
any of its parts. He believes that individuals are of 
small account in mankind's struggle toward further 
empire. His performance, sound, stern, impressive, is 
matched in drama by the background of the play. 

Shots of tempest and storm-buffeted planes and the 
wild confusion of cloud and sea alternate with scenes 
in the line offices where mechanisms work with un- 
moved certainty. 

John Barrymore, as Riviere, has added another fine 
portrait to his growing list of characterizations. He has 
appreciated that a man's face and his worth as a 
film idol sag together. Intelligent, able, he has switched 
from his profile-displaying roles of a few years ago 
to character parts, unlike the broken actor he plays in 
"Dinner at Eight." 

High spots: The Santiago plane fighting its way over 
the Andes, a tiny, crawling spot between cloudy moun- 
tains and mountainous clouds. . . . The flare dropped 
from Fabian's ship to reveal, not the sought-for land, 
but storm-lashed ocean. . . . The serene beauty of moon- 
lit clouds when Fabian uses the last of his gasoline to 
soar for a moment above the tempest. 

The Bowery — B 

Directed by Raoul Walsh. Released by United Artists 

THIS item is funny in spots but it doesn't make 
much sense. Wallace Beery is turned adrift once 
more in a not-so-good story. Not even the expert aid 
of George Raft, Jackie Cooper, Fay Wray and a host 




Clara Bow in "Hoopla," her latest Fox picture in which she promises 
again to reveal some of the old-time Bow dynamite. 

of others can make "The Bowery" anything but an 
implausible comic strip. 

Half the story seems to have been taken from a 
Horatio Alger novel; the rest may have been made up 
as the company went along. The plot deals jerkily, 
when it moves at all, with a feud between Chuck Cou- 
riers (Wallace Beery) and Steve Brodie (George Raft) 
which is patched up for no particular reason by the 
gutter waif, Sivipsey (Jackie Cooper) . 

"The Bowery" asks you to believe that in 1897-8 
fires in New York City still were being put out by 
volunteer hose companies; that people then were sing- 
ing "The Good Old Summer Time"; that a youthful 
John L. Sullivan was engaging in saloon backroom 
prize fights ; that Carrie Nation was raiding Manhattan. 

This is an evident attempt to recapture the pop- 



34 



The New Movie Magazine, January, 193U 



SHOULD SEE AND WHY 



ularity of Beery and Jackie Cooper* in "The Champ." 
George Raft and the rest of the cast do their best 
The direction is good. Even all these merits can't tret 
along without a story. 

High spot: A street fight between voluntei 
companies with flailing barrel staves and hurtling ash- 
eons, while Chinese in a burning house yowl for help, 
unheeded. 

Ever in My Heari — A 

Directed by Archie Mayo. Released by Warner 

BARBARA STANWYCK and Otto Rruger, in his 
first important cinema role, lift what otherwise 
might have been a routine picture into tenderness and 
beauty. Sentiment turns sour easily on film, or else- 




Barbara Stanwyck and Ralph Bellamy in "Ever in My Heart," in 

which these two — and Otto Kruger — lift what otherwise might have 

been a routine picture into tenderness and beauty. 

where, but its presence in "Ever in My Heart" will 
pluck at yours. 

There is human blood in Miss Stanwyck's and Mr. 
Kruger's screen shadows. The plight of Mary Archer 
and Hugo Wilbrandt has been suffered by thousands. 

Mary, scion of a patrician New England family, 
marries before the war. Wilbrandt, a young German 
professor, her husband, becomes a citizen. Then the 
conflict closes about them. One by one, their friends 
drop away and, after the Lusitania sinking, the witch- 
hunt for "hyphenate Americans" tears them apart. 

From their first meeting in the garden of Mary's 
home to the picture's bitter ending in France, the love 
of the man and woman, warms the film. 

Barbara Stanwyck actually has experienced both the 
suffering and the wedded happiness this film displays. 
An orphan, her rise to stardom, was rough and thorny. 
Her marriage to Frank Fay has been a permanent 
romance in a land of brief unions. 

High spots: Wilbrandt's cradle song breaking off as 
his little son dies. . . . Mary, her husband and her 
cousin, Jeff, (Ralph Bellamy), trying to talk of other 
things ivhile a, paper, headlined "Lusitania Torpedoed," 
lies on the table. . . . Mary, recognizing the back of 
her spy husband's head in a French army canteen. 

Saturday's Millions — A 

Directed by Edward Sedwick. Released by Universal 

T UCIAN CARY'S Satiirday Evening Post serial has 
L* been turned into one of the better football films 
that centers less upon the game than the racket be- 
hind it. 

Reporters and radio announcers; photographers and 
commercial agents seeking endorsements for their 



wares, trail .tun Fowler, (Robert Young), Western 
University's star halfback, like a comefs tail. I 
pours into his receptive pockets. His roommal 
(Andy Devine), is really secretary-treasurer of the 
one-man industry that is Fowler. 

Campus, locker room and stadium scenes of "Satur- 
day's .Millions" have fidelity. Mr. Young looks and 
acts like Robert Montgomery and seems well laun 
on a similar path to popularity as a juvenile. 
Fowlt r'.i sleek, cocksure insolence ha.9 probably been 
duplicated in a thousand colleges this fall. Fowh ;-'.■■ 
regeneration under the sting of scandal furnishes a 
smart climax for a deft film. 

High spots: The beaten team, jittery and exhausted 
in tin lockt r room. . . . Jim Fowler broadcasting an 
opinion on tin morrow's name from a typescript just 
furnished by the radio announct r. 

S. O. S. Iceberg — C 

Directed by Toy Garnett. Released by Universal 

LOVE and sin have been replaced in this film by less 
' human substitutes — geography and refrigeration. 
As a serial set of iceberg portraits, it is magnificent. 
As a film play, it could have been just as magnificent — 
but it isn't. 

Hans Schneeberger and Richard Ernst, cameramen, 
are responsible for most that is best in this picture. 
That is a good deal— shots of huskies on the sledge 
line; of bears on ice pinnacles; of whirling snow clouds, 
avalanches, bergs and polar seas. There's more than 
enough to make a tremendous travel film, but these 
remarkable scenes have been strung together on a 
thread of plot that is weak and short. 

Carl Lawrence (Rod LaRoque), while exploring the 
far North, is marooned on a drifting berg with his 
party. Their radio summons aid. Lawrence's wife 
(Leni Riffenstahl) cracks up her airplane in which 
she has responded, on the iceberg's side. Later a 
second plane finds and saves them. 

Rod LaRoque might have chosen something better 
for his return to the films. Despite stage training, 
despite stardom in the silents, he went into eclipse 
when the talkies arrived. Through most of "S.O.S. 
Iceberg" his action is limited to sitting ill and semi- 
conscious in an ice cave. Though the rest of his party 
has grown great whiskers, he emerges beardless. 

Other mysteries of this opus: Why does the marooned 
party let the villain (Gibson Gowland), run berserk 
with a knife, drive a fellow castaway over a cliff to 
his death and attempt assault upon Mrs. Lawrence 
with only the mildest objections? Why is one member 
of the group permitted to start to swim for shore — 
four miles away — in all his clothing and hobnailed 
shoes ? 

High spots: The birth of monster bergs at a glacier's 
crumbling rim. . . . Eskimo Kayaks scattering out to 
sea like a flock of startled ducks. 

My Woman — B 

Directed by Victor Schertzinger. Released by Columbia 

THIS is the old reliable, dusted off and used once 
more. In books, plays, earlier pictures, you must 
have met the devoted wife whose wit guides a useless 
husband to success. You must have seen her, too, cast 
off for lighter, less worthy loves and have witnessed 
how, always the husband, broken and penitent, creeps 
back for forgiveness. 

Connie Rollins (Helen Twelvetrees) prods her shal- 
low mate, the vaudevillian, Chick (Wallace Ford), into 
success and wealth as a broadcasting star. After a lot 
of (see preceding paragraph) the reconciliation and 
fade-out occur together in the Panama dance hall from 
which the couple set out toward fame. 

Here, again, is everything (Please turn to page 106) 



The New Movie Magazine, January, 193U 



35 





Photographed exclusively for The A'eio Movie Magazine by Robert W. Coburn 
It's Mae day in the movies. First, Mae West, the year's sensation. Not so spectacular, not so flam- 
boyant, but Mae Clarke's coming, too. Not beautiful, not theatrical, but one of the best actresses 
in Hollywood. The hard-luck girl who won't be beaten. Don't miss her in "Finger Man" 



The Neiv Movie Magazine, January, 193b 



Along Came Bi 

The story of Boots Mallory the girl 
who found herself through poetry 




THE latest emotional 
wood spinning has to 
miraculous Tia Juana 

lory and Bill Cagney, 
"Inspired," 1 say, lie- 
it was immediately 
after wolfing a chop broiled 
by Bootsie herself that Bill 
decided he couldn't wait an- 
other month as she had in- 
sisted . . . the miraculous 
element entering into the 
matter when you consider 
that Boots actually cooked 
a meal, and furthermore, 
the chop wasn't burnt. 

Fortunately, the romance 
proper is fraught with no 
such complicated psychol- 
< gy. Briefly, it was a case 
of Greek meeting Greek. 



cataclysm to semi Holly- 
do with the inspired and 
elopement of Boots Mal- 

brother of Jan.' 



By JOHN JAMES 



William Co 


gney, 


Jimmy's 


kid 


brother, and 


his brie 


e, Boots 


Mai- 


lory, photog 


r aphed 


shortly 


after 


♦heir Tia 


Juana 


weddin 


3- 



Photo lv ll (<fl 11 



Both happened to be work- 
ing at the business calling 
for pattering hearts, soft 
music and sighs; and had 
they never met, both very 
likely would have continued 
devoting 168 hours a week 
to their business. It so 
happens, however, they 
met; they sizzled; they 
burst into flame. And since 
neither could gain an ad- 
vantage, they compromised. 

The crisis passed with 
the affair of the chop; pre- 
cisely at eleven-thirty P. M. on Friday, September the 
22nd, 1933. After the first meditative swallow Bill 
gave a little start of surprise. Gradually a light of 
determination began to glitter in his eyes. He peered 
across at Boots. Then he made up their minds. 
"Listen, darling," he begged, "I see no good reason for 
putting it off until your birthday! Let's do it now!" 

They drove to Tia Juana, dragged the Justice of 
the Peace from his early morning tennis game, got 
themselves all mixed and intermingled at the altar 
and returned to Hollywood. And how the jangle of 
the Mallory-Cagney wedding bells blazed through the 
country's press! Happy? Boots is wild about Bill! 
And vice versa. According to them, they are the first 
couple in the world to discover the real joy of true, 
lasting love! And when you read the tragic, poign- 
ant story of Bootsie's life up to the time she met Bill 
Cagney, you'll agree that such happiness is truly 
deserved. 

IT was only a few months ago that weakened by con- 
■*■ tinued illness, shocked by suddenly discovering 
legal technicalities about her former marriage, and 
faced with a major operation, (Continued on page 105) 




TEARS 

Tears falling like soft rain on green leaves 
At eventide. 

Tears like early morning dew. 
Misty* cooling, comforting your soul. 
Tears coursing down your cheeks 
Like raindrops on a window-pane. 
Tears from anger, hurt, happiness, 
Trickling, splashing, spilling sadness. 
Slow bitter tears, stinging, burning, 
Salty tears. 
Hot, sticky tears. 

Leaving their traces on your checks. 
Drowning your lashes. 
Splashing tears. 

Soft, silent tears like April showers 
Falling on purple violets 
Caressingly. 

Sweet tears like a lover's kiss 
Promising comfort. 
Tomorrow's hope, today's pain. 

BOOTS MALLORY. 



The New Movie Magazine, January, IDS A 



37 



Elsie Janis Discovers 



"I chuckle now as I remember 

how sorry I used to feel for 

him/' confesses the famous 

stage star. 



Bing and his first swordfish, caught off Catalina 

Island, after a forty minute battle. But, because it 

didn't weigh more than 200 pounds, he didn't wir 

the Tuna Club gold button. But win it he will. 





IT changes most people, that "Ole Davil Success," but I have 
never seen anyone grow more consistently charming, inter- 
esting and human with the mounting of each rung of the 
ladder of fame than has Bing Crosby. 

Having fallen under the spell of that voice long before it 
echoed around the world, I sit back today and smile smugly 
at the doubters to whom I said way back in 1927, "Watch this 
boy Crosby!" 

Some of them did. They now join me in a chorus of "I told 
you so's." 

Many others, less credulous, probably don't even realize that 
the young man who has just signed a new contract with Para- 
mount Studios, which will bring him two hundred thousand 
dollars in less time than it would take them to learn to croon, 
is the same lad who was permitted to sing a chorus now and 
then with Paul Whiteman's band six years ago. 

When I say "sing," I mean sing. The word croon was still 
identified with mothers and lullabies. Crooners were as non- 
existent as the depression — personally, I think they were a 
great help to each other. 

Bing has survived both. Paul Whiteman also, since he took 
his losses in pounds. In 1927, when Whiteman's name on a 
phonograph record was magic, young man Crosby sang proudly, 
gratefully, without acclaim and probably at a salary which would 
pay for the postage on one day's fan mail addressed to the 
Bing of 1933. 

Last night I heard a radio announcer saying, "And now, at 
the request of many listeners, we will play Bing Crosby's latest 
song hit, 'The Old Ox Road' as recorded by Paul Whiteman." 
Bing, himself, was not singing, but the fact that he had sung 
the song made it important enough for a Whiteman arrangement. 

THE Bing of 1927 was not the calm, well-poised Bing of to- 
day. He had an arresting personality, aside from the God- 
given, microphone-developed voice. His tones said clearly, "It 
is my heart that is singing to you," but his long dreamy blue 
eyes said, "Don't expect a lot of help from me, I'm not going 
to throw myself around for anybody." 

His expression wasn't sad. It wasn't bored. It just wasn't 
"among those present." 

I chuckle now as I remember how sorry I felt for Bing. I 
wanted to do something for him. He was, no doubt, perfectly 
happy, though I didn't bother to inquire, but only the fact that 
I was sailing for Europe saved him from being adopted, pro- 
moted, managed, or perhaps kidnaped. 

All of the time I honestly believed it was because I wanted 
to help him. Right there we have the real reason for his world- 




38 



Bing Crosby's new house at Toluca Lake, near Hollywood, one of the swankiest 
in the film colony. It has just been finished. Be sure to read about the house- 
warming in "You Must Come Over," in this issue. 

The New Movie Magazine, January, 1934. 



Bing Crosby's Secret 



wide appeal. Sympathy ! For example, take the 
records that have made him. "Stardust." "Just One 
More Chance," "I Surrender, Dear," "Now That 
You're Gone," "Faded Summer Love" and so on into 
the thousands of records. Always sad, sweet .-■ 

While the world has been j-" > i n >r hi-di-hi-di, Bing 
has been doing halt' of the love making in it, by proxy. 
My own romance was a Crosby production — a lover's 
.spat, a sad farewell, a turn of the radio dial, Bing 
ringing ".lust One More Chance" and I would bark my 
shins in my dash for the telephone to recall the 
young man who is now my husband. 

No one can listen to Bing as he listens to Lawrence 
Tibbett, John Charles Thomas or any of those great 
voices which thrill you and leave you saying, "Boy, 
what a voice! He certainly can knock 'em for a 
loop!" 

With them you feel that you are just a little 
listener, privileged to hear the glorious notes. You 
can almost visualize those big boy baritones, slapping 
the microphone on the back as they leave the studio, 
saying, "Thanks, Mike, old thing. I'll be seein' you, 
and you'll be hearin' me!" 

With Bing it's a personal thing. He seems to be 
singing just for you and with one or two exceptions 



he always demands sympathy. Even when he asked 
the world to "Learn to Croon" via the screen, radio 
and records, it was much more of a request than a 
bit of advice. 

I LEFT America for England in 1927 without help- 
ing Bing, the caressing Crosby quality I later to be 
called a croon) ringing in my ears. Months later an 
English friend of mine who apparently met the in- 
coming ships from America to get a corner on all the 
latest American gramophone records, said to me, "I 
say, have you heard those Threy Rhythm chaps? 
They're topping! Listen to this recording." 

The needle dropped and we were into "Mississippi 
Mud," as recorded by ths Three Rhythm Boys. I 
listened to the trio, feet tapping, eyes snapping, three 
voices with but a single rhythm. Suddenly my ears 
stood right on their lobes as I heard the solo bit. 
"For I Left My Sugar Standin' in the Rain and My 
Sugar Melted Away." "That's Bing Crosby," I cried. 
"It couldn't be anybody else." Well, it was, of cours;. 

Life became one unending search for other Rhythm 
Boys records and, above all, one where Bing would sing 
more alone. I still felt sorry for him, still wanted 
to help him. By the time {Pleast turn to page 99) 




Phnto III Wtitc World 



Bing, holding his newborn, at the son's christening recently. Others in the group ore Jobyno Ralston Arlen and Dick Arlen 
and their son, Richard Ralston Arlen, and Dixie Lee (Mrs. Bing Crosby). The babies were christened together. 

The New Mnric Magazine, January, 1934 



39 



YOUTH 



LOOKS AHEAD 

At twenty, Loretta Young, already a 
star, thinks of the time when she'll re- 
tire and become a mother 

By FRANC DILLON 




AS SHE THINKS 

"/ want a lot of romance In my life — 
and a lot of children. . . . I want success, 
then leave it all and live my life. . . . When 
I retire I want to live in Europe, because 
it is so different from Hollywood. . . . It's 
funny to think of myself, as I am now, as 
just so much stock, just an investment. But 
that's what I am." 



A T twenty, Loretta Young is an investment. 

/\ Her life is in the control of strangers. At 

XJ^_ twenty, she can look back on a full life, more 

filled with events than that of the average 

woman of fifty. But Loretta doesn't look back. 

She is too busy looking forward. 

What does the future hold for Loretta? One 
can't, as she admits, go any higher than the pin- 
nacle. One can't do better than be a success in 
one's particular field. But Loretta is looking 
further ahead than her immediate career. She is 
looking forward to the time when, career over, she 
can retire to a normal, happy married life. 

"Of course, I want to marry again," she told me 
quite frankly. "Being married is the only normal 
way to live. During the past year my life would 
have been empty without my work. I'm often ter- 
ribly depressed. I think it's silly for people to 
commit suicide, but there have been many times 
when I could understand a person's reason for 
doing such a thing. I know I should simply die 
without my work! 

"Acting is my profession," she continued. "I 
want to achieve success. And then I want to leave 
it all and live my life. If I can I'd like to work 
eight or nine years longer and then go to Europe, 
marry and have lots of children. 

"I want to give up my work entirely when I do 
quit. If I stayed in Hollywood, I couldn't. I'd have 
to keep right on acting. I'm sure Europe is the 
place I want to live because it is so different from 
Hollywood. I want to cut myself off completely. 

"And I think I ought to be able to find a husband 
when I'm twenty-nine years old," she added, 
naively. "Perhaps my career won't last that long. 
Think of all the stars you know. Few of them have 
maintained their positions as stars for more than 
five years — even three years. So, when I say I 
hope to work eight or nine years longer, I know 
there's just a chance. 

"It's a case now of fighting to retain my present 
position and that, in a way, is out of my hands. It 
depends upon proper stories, good direction and ex- 
cellent casts. But I don't have to get gray-haired 
over those responsibilities because I'm an invest- 
ment to the studio, and the studio's going to look 
after me as it would guard an investment in the 
stock market. It's funny," she said in her husky 
voice, "to think of myself as just so much stock. 
But that's what I am." 

WHEN Loretta was fourteen and still in school, 
her sister, Polly Ann Young, was a contract 
player at First National. Polly Ann was wanted 
at the studio one day for a retake, but she had gone 
out of town on a vacation. So Loretta was sent to 
the studio to take her place. The sisters looked so 
much alike, that, dressed (Please turn to page 74) 



"I should be able to find a husband when I'm 

twenty-nine years old, shouldn't I?" Loretta 

asked, naively. 

Photographed exclusively for the New Movie Magazine oy Wide World 



40 



The New Movie Magazine, January, 19 3 U 




Photoyniplitd cjduviiclif for The ^ 



Karen Morley's screen career, halted briefly by her role of mother, in real life, 

begins anew. After "Dinner at Eight," you will see her in a succession of 

pictures. . . . Here you see her in the garden of her Hollywood home. 



The New Movie Magazine, January, 1984 



41 



Speaking of Money 



Drawing by Ken Chamberlain 




Just imagine what might happen if the code epidemic were 
to break out in the movies. 



I DON'T see why Hollywood actors were criticized 
for wiring the President their complaints of the 
movie code. They couldn't very well wire General 
Johnson — a five-thousand-a-year man. Too, too 
embarrassing! For that matter, the President gets 
only $68,500 since foolishly cutting himself ten per 
cent. Wonder how he feels being told that one's pay is 
determined entirely by one's popularity. Smaller than 
Mickey Mouse, I guess. 

CTARS say their names draw business, therefore 
^ they earn the money. Names like Standard Oil 
and Ford also bring cash, but no one ever argued they 
were self-made. 

Most players come to Hollywood as rookies to the 
army. If they show talent, they are taken in hand 
by directors, photographers, costumers, make-up art- 
ists, publicity perfumers. They're done over so their 
best friends wouldn't recognize them and, for that mat- 
ter, they don't always recognize their best friends. 

Doubles perform dangerous stunts, doubles stand 
in while lights and cameras are trained, doubles even 
sing for them if occasion requires. 

When at last the "name" is a draw, little star yowls 
for a thousand a week more and usually gets it. The 
builder-uppers go right on at the old wage. 

Proof that stars are synthetic: Give them bum sto- 
ries, poor lighting, bad direction, inexpert photogra- 
phy and punk publicity, and see how long the "name" 



draws. Don't take my word. See "Bombshell," Holly- 
wood's own version of a star. 

T SIDE with the actors in feeling that if cuts are to 
*■ be made, they should start with the big-bonus execu- 
tives. This attempt to limit salaries has brought the 
inevitable shriek, "Communism!" This, in turn, must 
bring ironic smiles to the capitalists who have lost 
some five hundred million in movie stocks during the 
past three years and to the bankers who have can- 
celled fifty-five million in loans. From where they 
sit, Hollywood must look redder than Moscow. 

PERSONALLY, I don't think anyone should be cut. 
Instead, I think everyone's salary should be raised 
to equal Garbo's . . . well, anyway, Baby LeRoy's. 
Didn't those monstrous Technocrats claim we could 
all be making twenty thousand a year under a Square 
Deal? That wouldn't be bad for a start. 

AND I don't mean to say that all stars are entirely 
synthetic. Mae West, f'r'nstance. Mae gives her 
heart, her soul, her everythin'. Conceives her stories, 
writes her lines, sings her songs herself and has such 
a way with reporters that Paramount has had to sub- 
stitute bouncers for press-agents on her set. 

And, while others were wiring complaints to the 
President, Mae was wiring a plea to the Governor of 
South Carolina to pardon a technician of the company 



42 



The New Movie Magazine, January, 1934 



The Hollywood Boulevardier — HERB HOWE — takes the President's 

investigation of movie salaries to heart, and then goes for a stroll 




who broke jail ten years ago and has been a good boy 
since. It's all I can do to keep from wiring General 
Johnson to exempt Mae. I mean no blanket code 
should cover Mae! 

The Governor of Kentucky has made Mae a 
colonel. That should calm those who worry about 
defense. In case of war, with Mae as Colon,!, 
you'd never have to conscript us boys. 

WHEN screen history is written it will be recorded 
that the Golden Age of Art began with Mae West 
and the Three Little Pigs. It took Mae's "cumup'n see 
me s'm'time" to bring Prosperity around the corner 
into the theaters. "I'm No Angel" was appropriately 
premiered at the Seamen's Church Institute in New 
York. 

I tried to join the Navy and see Mae, but didn't get 
by, because sailors are now required to have a high 
school education. Nevertheless, I did drive down to the 
Institute, hoping to see the Admiral whose life I saved 
in the Long Beach earthquake by sharing a pint. No 
use! The defenders of our land overflowed the audi- 
torium. All I got was the critical comment of a gob 
who hurtled forth, screaming: "Am / drunk and is 
she handsome!" 

P.S. — Don't be surprised to find Mae's head on your 
sailor boy's chest. Latest fashion in tattoo! 

ry RECTOR LEWIS MILESTONE went to Russia 
1 - v to film scenes for "Red Square." The thing that 
amazed him about the Russian film studios was the 



hearty cooperation of all workers, the absence of envy 
and "politics" that render Hollywood studios chaotic. 
Recently, it has been reported the Russians will install 
the star system. Good-bye cooperation; hello envy! 

DRODDED into line by twenty-four cops, frightened 
* stiff by four mounted Cossacks, all but crushed by a 
spectacled female tractor suspiciously resembling the 
old-time reformer, I finally got into the Paramount 
Theater and saw "I'm No Angel." 

But I'm soured on New York's Broadway movie 
palaces. Even when you succeed in getting in, the 
battle is not over. Big palooks keep charging up and 
down the aisles, the screen is blotted out by others 
passing in front of you, and the toes are turned to 
ragout by fat ladies treading heavily to seats in the 
same row. 

I've turned Bolshie. If television doesn't arrive 
pretty soon, I'm going to Moscow, where you can dance 
in the foyers of the theaters while waiting for seals, 
listen to concert orchestras, gnaw on caviar sand- 
wiches, have your photograph taken and your hair cut. 
T' '11 with entertainment in this land of rugged, indi- 
vidual shoving! 

ONE abuse the NRA movie code should slap down is 
voice dubbing for songs. Peacocks who sing with 
the voices of nightingales should get the axe. One of 
the worst examples was in "Too Much Harmony" — 
and I don't mean Bing Crosby. I see some art in pick- 
ing a man's pocket but none in lifting his talent. 
Here's an example of the (Please turn to page SO) 



The Neiu Movie Magazine, January, 193b 



43 







1 l/ljUJ- \/V\jiX^ijLA- 



HO LLVWO O D 
FASH I O IV S 



Lilyan Tashman, ''Hollywood's Best 
Dressed Woman," passes the compli- 
ment on to Norma Shearer 



! think Norma Shearer is the best-dressed woman, both on and 
off the screen. Miss Shearer is not only well dressed, but she is 
always beautifully groomed. In fact, to my notion, she is the best- 
groomed as well as the best-dressed woman in pictures. 

Norma's hair and nails always look so perfectly done. She 
has always that scrubbed, immaculate look. She dresses in a 
grand, conservative, luxurious style and looks as though she uses 
care and thought in buying as well as in wearing her clothes. 

—LILYAN TASHMAN. 



44 



The New Movie Magazine, January, 1934- 



BLACK 

FOR 

FORMALITY 



BROWN 

FOR 

SPORTSWEAR 



Alice White follows the French tra- 
dition in choosing black for formal 
street wear. It's a black wool tunic 
dress, with matching cape trimmed 
with Persian lamb. Hat, bag, gloves 
and shoes also are black. 



A brown wool sports suit with wide 
lapels is just the thing for informal 
daytime occasions. A tan wool 
sweater-blouse is snugly tied under 
the chin, and the diminutive brown 
cap is drawn rakishly to the right. 




Fashionable dark green 
is well displayed in Alice 
White's new gabardine 
with matching skirt and 
sports sweater. A scarf and 
small black tarn complete 
the ensemble. 

Photos by Frculirh. 




The New Movie Magazine, January, 1934 



1-- 



SQUARE NECK-LINES 

Are featured in these dresses worn 

by Alice White for both afternoon 

and evening wear 





Red wool embroidered with gold blocks brightens the 
landscape when worn by Miss White. It's a practical 
dress made with a becoming square neck-line, ruffles 
at the top of the sleeves, and kick pleats at the 
front of the skirt. The small black hat sports a 
diminutive black veil. 
Photos l]f Freulich, 



Alice White, appearing in Universal's picture, "Kid 
Gloves," is a good fashion pattern for the petite 
blonde. She is dainty and slender, yet well formed, 
and she wears clothes that neither accentuate nor 
conceal her graceful figure. Black, brown, green, red 
and violet are all included in her autumn wardrobe, 
and they are all equally becoming. The dinner gown 
shown at the left is made of violet colored crepe with 
low-cut neck and flattering cape sleeves. 



46 



The New Movie Magazine, January, 1934- 



Shimmering panne velvet, block lyni fur ond Marion Niion. Its the 1934 style 
in tea gowns, made with flottering fullness below the hipj ot the bock, jedate neck- 
line and sleeves that wrinkle cloiely at the wrist. 







The New Movie Magazine, January, 1934- 



47 



Hollywood SLAVE 




I FEAR I looked far from "divine" as I eased my- 
self out of Fritz Stresseman's roadster — late that 
night after a wild, vain ride to Fresno and return 
— and battered at the locked door of my little side- 
street Hollywood hotel. I had driven a gocd deal in my 
life; otherwise, I should not have dared the trip; but 
never so far or so long ; and never recently. I was stiff 
and lame and tired and hungry — and I had a broken 
heart. 

I might have known that Travis would not have gone 
to Fresno, that he would have scorned to profit by the 
generosity of Fritz Stresseman — the price, as I am 
sure he thought, of my desertion and deceit. But when 
I reached our little room that Sunday noontime, after 
a none too carefully driven dash down the wide circling 
grade of Stresseman's hill, and found that he had gone 
without leaving a note or even a message with the hotel 
people, I didn't know anything except that I must find 
him. 

Fresno! That was the one word in my mind, the 
one clue. So, breakfastless, hatless, brainless, I slipped 
again into the driver's seat behind the big wheel and 

48 



MOLLY, the little girl from Cadiz, Ohio, virtually 

hypnotized into leaving the husband she adores and 

living a life of lies to become "the mystery woman of 

the screen." 

TRAVIS, the husband, a young singer, touring with 

Molly in vaudeville, ignorant of the role in life and in 

films that his wife is to be required to play. 

FRITZ STRESSEMAN, world-famous director and 
star-maker, who, glimpsing Molly in the Brown Derby, 
determines to make her his next great star. Traces her 
to the theater and immediately offers her a dazzling 
contract — provided she will place herself completely 
in his hands. 



started the high-powered machine on a journey which 
could have no end. Luckily I had in my bag my half 
of the last week's salary. It sufficed to buy gas and 
oil, and later, when fatigue brought me perilously near 
to collapse at the wheel, it bought ham and eggs and 
good hot coffee. It is amazing how healthy an eighteen- 
year-old girl can be — even when her heart is crushed. 

The New Movie Magazine, January, 193b 



The anonymous confession of a famous movie 

star who risks her soul for a strange career 




Of course, he wasn't there. Apparently he had tele- 
graphed the San Francisco office of his withdrawal, for 
a replacement had come down on the morning train to 
fill his spot on the bill. It was like Travis to do that: 
he never let anybody down. He wasn't letting me down. 
He was just letting me out. I didn't blame him. I sim- 
ply made up my mind to devote my life to finding him, 
to getting him back. First, though, I must return Fritz 
Stresseman's stolen car and I must gather up my be- 
longings in the little room — my stage costumes, which 
I would need if I were to keep soul and body together 
while I searched for my man. It was for this that I 
had come back to Hollywood. 

There was no answer to my battering from inside 
the hotel ; but the noise had evidently awakened some- 
one in the all-night, parking place next door, for I could 
distinctly hear the unlatching of a car door, and the 
murmuring of masculine voices, followed by the switch- 
ing on and off of headlights. Finally, two sleepy, dis- 
heveled figures appeared around the corner of the build- 
ing. One I recognized at once as the usually impeccable 
chauffeur, who, I had already learned, answered to the 
first-class movie name of Claude. The other was the 
man, Sam, who had called me "baby" and "kid" and 
had warned me that little Isadore preferred blondes. 

r DIDN'T know what to say to these men. Did they 
*■ come as friends? Or as jailers? I decided to wait 
and see. They were in no hurry, either. They were 
evidently still half asleep — the tall man, Claude, espe- 
cially. Sam managed to stagger sleepily to the head- 
lights of my car, and stick one hairy hand and wrist 
into their piercing rays. I was standing near enough 
to see the hands on his heavy gold wrist watch. They 
said two o'clock. 

"Well, baby," he said, turning to me with a not un- 



friendly smile, "how'd'ye like the buggy ride?" 

"All right," I said. I wasn't in the mood for humor. 

"We've been waitin' for yer." 

"Yes, I see. Mr. Stresseman wants his car, I sup- 
pose." 

"Sure he wants his car! 'Sam,' he says, 'you bring 
back that car, dead or alive — an' if you find any 
Egyptian goddesses hidden away in the rumble, bring 
them back, too.' " 

"Dead or alive?" I laughed. Sick and tired as I was. 
I couldn't help liking Sam. 

"Well, wha'd'ye say, baby, will you drive yerself or 
will yer ride in style with Claude?" 

"Thanks, Sam — and you, too, Claude — it was swell 
of you boys to wait up for me. But I've had enough of 
what you call 'buggy-riding' for one day. You take the 
car back to Mr. Stressman with my apologies and 
thanks. It's filled with gas just as I found it. I'll go 
upstairs and get a little sleep." 

"Sorry, kid, but the house is full. Ther' ain't a va- 
cant bod in the place." 

"But my things!" I cried. "My costumes." 

"Don' worry about yer things, baby. They're all 
safe — " 

"But where?" I was now genuinely alarmed; for all 
that I had in the world was what was left of last week's 
salary check, and I couldn't buy costumes with that. 

"Oh, up there in the old ancestral castle." answered 
Sam, with a lordly gesture toward the hills. "I tucked 
'em away meself, just as cute as a pea in a pod." 

T WONDERED if Sam's duties, which seemed to in- 
*■ elude everything from the work of an upstairs girl 
to the rescue of strayward ladies in distress, extended 
also to the artistic arrangement of clothes over the 
backs of Spanish chairs — (Please turn to page 94) 



The New Movie Magazine, January, 19S4 



49 



TED COOK'S 



MOVIE 
COOK-COOS 



Wise and otherwise com- 
ments on the Picture Parade 



HALF a dozen universities are 
offering courses in "Motion 
Picture Appreciation." Over 
in Edinburg, Scotland, fac- 
ulty groups invite working girls to 
c'mon up one night a week and talk 
about the movies. Distinguished so- 
ciologists have issued one report, and 
are preparing another, to show just 
how pictures shape public attitudes 
in this broad land. Which brings us 
smack up to Topic A — Mae West. 

In Hollywood they speak of Mae 
West as Paramount's hope chest. 

But she's bigger and broader than 
that, if we may be permitted to say 
so. We do say so, and thanks for the 
loan of the hall. 

Of course Mae doesn't know it — 
and neither does Paramount — but in 
some circles she's considered a whole- 
some influence. (Yes, you are, Mae 
— and don't talk back to the Profes- 
sor.) We said Mae doesn't know it. 
We did not say Mae doesn't know 
IT. 

V/f AE'S characterization of the big, 
**■*■ bad she-wolf (in silver fox 
trimmings) is teaching Americans 
to come right out and laugh loud and 
hearty at sex. Of course, we're not 
saying that you can laugh sex right 
off the agenda of the oh ! so human, 
race. But we're saying — and we 
speak for the moralists — that she 
makes people laugh at the way fancy 
ladies undo the big, strong chumps. 
Indeed, it might not be a bad idea 
— or it might not be a good idea, for 
that matter — if Mae West pictures 
were shown at every board of direc- 
tors' meeting, as a matter of regular 
business. The Mae West showing 
could be scheduled in place of the 
routine exchange of smoking com- 
partment stories which so often de- 
lay a vote on resolutions to pass a 
dividend. 

\17'HILE touching on smoking- 
* » room stories, did we ever think 
to tell you that Mae supplies prac- 
tically all the laugh lines for her own 
pictures — not to mention a lot of 
laugh lines that are too peppery to 
handle. Then it must have been 
someone else who told you. Say what 
you will about Mae West's acting, 
she knows her lines. She not only 
knows her lines, but has an excellent 
memory, because the lines that get 
the big laugh in "I'm No Angel" 
are: 

'When I'm good, I'm very, very good, 
but when I'm bad I'm — better." 



50 




Drawing by the author 

Why not show a Mae West picture at every board of directors' meeting? It 
could be scheduled in place of the routine exchange of smoking compartment stories 
which so often delay a vote on resolutions to pass a dividend. 



AND, speaking of Mae West's lines 
■^*- — there is actually a Mae West, 
listed in the Los Angeles telephone 
directory, who is a corsetiere. And 
the Mae West who sells corsets com- 
plains that her phone rings at all 
hours of the night. Drunks think it 
is fun to call up and ask if they can 
c'mon up some time. One call came 
long distance from Arizona. 

At this point ive pause grace- 
fully to ask why it is that most 
musical pictures show so many 
legs and so little promise. 

And an advertisement in a Water- 
ville, Maine, paper says: 

If You Are Going to the Movies 
You Can Leave Your Clothes 
To Be Cleaned and Pressed 
Just at the Left of the Lobby. 

Be that as it may, ive will 
never have much faith in human 
nature until it stops applauding 
■movie-house organists. 

pREVIEWS are now being scouted 
- 1 by cough detectors, whose busi- 
ness it is to spot scenes during 



which the audience starts coughing. 

All of which is a result of some 
wide-awake executive's quaint whim- 
sey. 

He has deduced that the audience 
cough is a definite reaction to the 
feeling of boredom caused by an 
overacted scene. 

Of course, if overacted scenes 
made people cough audiences would 
have blown down all the theater 
walls by this time. And the so-called 
silver screen would look like the tat- 
tered sails of the good old schooner 
Hesperus. 

There isn't an actor or a director 
who can prevent some of us old ha- 
bitual coughers from coughing. For 
that matter, there isn't a cinema 
artist who can make pictures good 
enough to prevent ladies sitting in 
the next row back from discussing 
yesterday's bridge game. 

A movie-taught dogma 

That's current as sin 
Is: The worst of the gals 

Get the best of the men. 

THERE are too many present- 
day wives playing bridge, at- 
(Please turn to page 93) 



The Nero Movie Magazine, January, 193b 




/'/(■ !"<!, •i/ihcd czclu 



bv Jack Frculich 



Do you remember Pearl White, the serial queen, and her Pauline of the perils? 
And only a few years ago, too! . . . Here you see the 1933 version of Pauline — 
Pearl brought up to date by Evalyn Knapp. And, in addition to the Peril 
• series, you'll find Evalyn in Univcrsal's new "Beloved." 



The Neiv Movie Magazine, January, 193U 



51 




Hollywood's 



The strange story of Whitley Heights, where 
glamorous ghosts gather, rising high above 



the common world 




Blanche Sweet, still slim and ro- 
mantic looking, is seldom heard 
of or seen in pictures. 




After many tragic episodes, Helen 
Lee Worthing is in a sanitarium. 



THERE is a hilltop in Hollywood 
where glamorous ghosts gather 
. . . some of them the ghosts of 
people who are still alive. 

There is an insidious charm about 
this spot possessed by no other resi- 
dential district in the environs of 
Hollywood or Los Angeles. Stand on 
a balcony on Whitley Heights some 
deep blue, velvet night, when the per- 
fume of orange blossoms and roses 
mingles ever so faintly with the fra- 
grance of burning eucalyptus logs, 
and Hollywood stretches before you 
like a handful of jewels waiting to be 
scooped up, and you will know what I 
mean. 

Bel-Air, Brentwood, Beverly Hills 
and the Los Feliz estates have dig- 
nity, beauty, stability. Malibu offers 
fun, freedom and relaxation. 

But Whitley Heights has the ecsta- 
tic quality of impermanence. The 
houses cling perilously to the hillside. 
Bedrooms may be downstairs and 
kitchens upstairs. There is a profu- 




Plwta by Wide H'oi 



Wallace Raid loved the hilltop, too. Memories 
of gay parties and Wally's Pan-like pranks 
still abound. . . . Above, one of the lasf 
pictures taken of Wally, with Wallace, Jr. 

Wanda Hawley lived in the house next to 
Eugene O'Srien — Wanda, blond and dimpled. 



By ELEANORE GRIFFIN 




sion of flowers and foliage. Red roses 
hang over small green gates. Hibis- 
cus blossoms line the winding paths. 
Bright-colored birds dart from tree to 
tree, and when it rains you can watch 
the rain drops falling on the roofs be- 
low. People on the way up the ladder 
of fame live here, and people on the 
way down. 

Real estate men will tell you, and 
tell you truly, that on a clear day you 
can see a shimmer that is the Pacific, 
and that on summer nights your ears 
will be regaled with snatches from 
the symphonies in Hollywood Bowl. 

But the real estate man doesn't 
know that if you listen ever so care- 
fully you may hear the eerie whine of 
Valentino's specially-built foreign 
roadster as it creeps up the steep hill 
that leads from Hollywood. The 
roadster lies in a junk heap some- 
where, and Valentino, greatest of 
screen lovers, in a crypt, not even his 
own, a short distance from the foot of 
the hill. 

And, late at night, the fog creeps 
in from the sea to clothe the hill in 
silver and to enfold with loving 
fingers the graceful wraith of the too- 
beautiful Barbara La Marr, who 
traveled so far in the eight miles that 
stretch from the shabby cabaret on 
Main Street to the odd little pink 
house that still clings trustingly to 
the hillside. 

And if your ears are tickled by a 
vagrant refrain from a song you have 
almost forgotten . . . "Wally" Reid 
lived not far away, and impromptu 
orchestras composed of his friends 
were his chief delight. And strange 
unhappy fates overtook others who 
were beautiful, gay and gifted and 
who looked triumphantly down on 
Hollywood from this picturesque hill- 
top. 

TEN or twelve years ago so many 
celebrities lived on this one hill- 
top that a sightseeing bus laden with 
tourists made the almost precipitous 
climb every afternoon. 

Valentino lived there then in the 
blue honeymoon house to which he 
brought the exotic Natacha Rambova. 
Valentino, who in his brief career, en- 
joyed an adulation accorded no other 
actor in the history of the stage or 
screen. 

But the darling of the gods died at 
the age of thirty-one. Rioting lines, 
blocks long, waited to view his casket. 
Women all over the world wept. Two 
girls who had never seen him except 



52 



The New Movie Magazine, January, 193 A 



HAUNTED HILL 





An airplane photograph of Hollywood. In the 
circle marked No. I is Grauman's Chinese Theater, 
where Hollywood holds its swankiest openings; 
2, the Roosevelt Hotel, center of much movie 
gayety; 3 and 4, Levy's Cafe and the Brown 
Derby, respectively, where the stars dine; 5, Sardi's 
restaurant, a comparatively new social center; and 
6, the hilltop known as Whitley Heights. 



Falcon Lair, the honeymoon house, where Rudolph Valentino took his 
exotic bride, Natacha Rambovo, and still visited by countless sight- 
seers. ... At right: Rudy who, in his brief career, enjoyed on 
adulation occorded no other actor in the history of the stage or screen. 

on the screen, girls he didn't know existed, committed suicide. 

The blue honeymoon house still stands, and curious fans continue 
to ring the doorbell and humbly request that they be allowed to go 
through the house. The present tenants are amazingly gracious 
about it. Perhaps Rudy, who died at his zenith, will be the screen's 
only immortal. 

And children who are now grown up remember begging their 
nurses to take them walking by the pink house where Barbara 
La Marr lived, because Barbara was so beautiful she seemed to them 
like somebody out of the pages of a fairy tale . . . Barbara, who 
crowded the adventures, the tears, and the joys of several lifetimes 
into her pitiful twenty-nine years. She loved the hilltop and the 
glittering lights below her. 

Wally Reid loved the hilltop, too. Memories of gay parties and 
YVally's Pan-like pranks still abound. Everyone loved Wally, who 
looked like a young god, and who died waging a glorious but futile 
battle. 

Scoff, if you will, but is it not strange that three individuals, 
each one glamorous, beloved and gifted, (Please turn to page 88) 

The New Movie Magazine, January, 1934 




Eleonor Boardman lived up here when she was 

considered one of the most brilliant and promising 

of the younger actresses. 



53 




Gloria Stuart and John Boles in Universal'* new costume musical, "Beloved." 



MUSIC 



IN THE MOVIES 

JOHN EDGAR WEIR 

What's new and best in melodies in the 
movies and on the records 



BIGGEST HITS 

"It's Only a Paper Moon," fox trot — played by 
Paul Whiteman and his orchestra. (Victor) 

"By a Waterfall," fox trot — played by Guy Lom- 
bardo and his orchestra. (Brunswick) 

"Who's Afraid of the Big Bad Wolf?" vocal- 
sung by Ethel Shutta. (Columbia) 

"The Day You Came Along," vocal — sung by Bing 
Crosby. ( Brunswick) 



IT'S ONLY A PAPER MOON" played by Paul 
Whiteman and his orchestra start things off this 
month, and I think this is the best dance record 
that Whiteman has turned out in quite some time. 
In fact, it's so good that it doesn't even sound like 
Paul. All of the phoney over-arranging and fifty fiddle 
effects are pretty well done away with in this one, and 
you get just what you want in a dance record: rhythm 
and licks and a good vocalist. In fact, Peggy Healy, 
who does the vocal work, deserves a good deal of praise, 
as she does plenty to put the record over. However, 
this is my idea of the King of Jazz at his best. 

The other side is also played by Mr. Whiteman. This 
time it's a tune from the Paramount picture "Take a 
Chance." "Night Owl" is the name of this one, and it 
will get by but only through the vocal work of the 
Rhythm Boys. Not that you can blame Whiteman 
though, for this is an insipid tune if there ever was 
one. Even good arranging can't disguise that fact. 
(This is Victor Record No. 24400-B.) 

"T> Y A WATERFALL" is the title of the next, and 
*-* now it's Guy Lombardo we're listening to. This 
is from the Warner Brothers film, "Footlight Parade," 
and when you hear this record, you'll think that the tune 
must have been written just for Lombardo. I think it's 
impossible for Guy to record a bum tune and this just 
goes to prove it. Of course, Carmen Lombardo sings 
the vocal refrain. 

Another number from "Footlight Parade" is on the 
other side, called "Shanghai Lil," also played by Guy 
Lombardo and his Royal Canadians. However, if your 
memory reaches back a couple of years you'll easily 
recognize this one as "Cryin' for the Carolines" with 
very little change outside {Please turn to page 89) 



54 



The Neiv Movie Magazine, January, 193 h 



Herbert Marshall's back — and 
how! You'll remember the smash 
hit he made — and then left us. 
"The Solitaire Man" was his last 
appearance in American films, 
but now, again, you see him in 
Cecil B. DeMille's "Four Frightened 
People," featuring Claudette Col- 
bert, and Honolulu-made. 



Photooi "I'**- d < rchutrelji f»t 

Tin \' " 1/ Mapiu \ne 

hu John i ngttt ad 




The New Movie Magazine, January. 103A 



55 




If Ruby Keeler says her eyes are set on a bassinet Instead of top 

billing, that she would rather have a baby than a new contract, 

she is being honest. She's not just talking; she means it. 




About marriage, Ruby says: "Al and I just enjoy being together — 
not doing things together, but just being together. You know, the 
way you like to have someone around, someone you really like." 



THE 

Fairy 
Princess 

OF THE FILMS 

By HESTER ROBISON 



A LL of her life — and she is now twen- 
I\ ty-three years old — Ruby Keeler has 
/ \ snapped her fingers at things that 
seem all-important to other people. 
She has snapped her fingers in defiance — 
and she's happier than most girls are at 
her age. 

That is why, in the near future, she ex- 
pects to snap her fingers at her movie 
career and give it all up to start having a 
family. 

Certainly, it is not publicity! 

Ruby Keeler never jokes about things 
as sacred as marriage and babies. Didn't 
you hear about the time she walked out of 
Ziegfeld's "Whoopee," and the reason for 
it? 

LpDDIE CANTOR, who was the star, was 
-'--'using the Al Jolson-Ruby Keeler mar- 
riage as the basis for a joke that got a lot 
of laughs. Now, if there is anything more 
marvelous to Ruby than Al and her mar- 
riage to him, she hasn't disclosed it. When 
Cantor went on using the joke, little Ruby 
just up and walked out of a leading role 
and went to Hollywood to join her husband. 
So, when Ruby says she may quit the 
movies just when she has started her 
career, at a time when she is kicking her 
toes against the top rung of the ladder 
of fame, she isn't just saying it. She is 
being sincere. If she says her eyes are 
set on a bassinet instead of top billing, 
and that she would rather have a baby than 
a new contract, she is being honest and 
not looking for publicity. 

BACK in Halifax, N. S., where Ruby was 
born, people usually say what they mean, 
and Ruby never talks unless she knows 
what she is going to say. If being born in 
the atmosphere of rugged honesty that 
characterizes the folk in Halifax hadn't 
given Ruby the courage to respect things 
other than fame and money and a career, 
then her training in Catholic convents 
would have done it. 

She was only five when she moved to 
Long Island, New York, with her family. 
Her mother put her into a Catholic school 
right away. Don't get the idea, however, 
that little Ruby was always pampered and 
petted until she was spoiled. She was one 
of six children — four beautiful sisters and 






56 



The New Movie Magazine, January, 19SU 



RUBY KEELER whose only thought in her stardom was "to take 
care of the folks" — and her Prince Charming 



a younger brother — and she took pot-luck in most 
things with the rest of them. It is true thai Bhe had 

a little the advantage of them, being the oldest. 

When she was a little girl sin- spelled her name 
Rubye Keeler, but Bhe dropped the extra "e" when 
she became known around Broadway as a "grand little 
hoofer.'' Her kid sisters, who used to cut out dip- 
pings about her and keep scraphooks to show off to 
their friends, teased her about changing her name 
from Rubye to Ruby. They pretended that she must 
think herself a grand person to do it. All the time 
they were Baying to her face that she wasn't so good 
as a dancer, they were boasting about her behind her 
back. A prophet is without glory in his own country. 

AT the age of six Ruby was attending a Catholic- 
dancing school. She made other children look like 
clumsy oafs when she danced. She was so conspicuous 
by her grace that a teacher, who came once a week 
to train the little girls in their school "drill," singled 
her out for attention. 

"This little girl," she predicted, "will be famous 
some day." 

In those days Ruby was a serious-eyed child, deeply 
religious. Her religion came first, then her dancing. 

It was not because she decided Ruby should be a 
dancer that Mrs. Nellie Keeler sent her child to a 
dancing teacher at the Metropolitan. It was done 
merely because it seemed the natural move for a child 
who adored dancing. 

Gradually, though, it became obvious to Mrs. Keeler 
that there was more to it than mere love of skimming 
around the floor of a dance studio. She understood 
that Ruby loved dancing more than anything else 
she did; that it was something deeply rooted, as love 
of painting or writing is deeply rooted in other chil- 
dren. 

Understanding, Mrs. Keeler sought advice from 
Ruby's teachers. She was told that Jack Blue (the 
man who taught Marilyn Miller and other famous 
dancing stars) could do wonders for her child. 
Whether it was as a result of her innate talent or the 
training she received from Jack Blue is hard to tell; 
but shortly after she entered his classes, she became 
a professional dancer. 

It is said by those who knew Jack Blue that some- 
times he was harsh with his pupils. But with the 
child, Ruby, he was as gentle as a lamb. All of her 
life Ruby has had the same effect on persons supposed 
to be too hardened. 

SHE was onlv thirteen when she took part in a plav, 
"The Rise of Rose O'Reilly." At this play Mrs. 
Keeler met other mothers whose children were pro- 
fessionals, and one of them advised her to enroll her 
daughter in the Professional Children's School. 

In the school with Ruby was a titian-haired little 
girl named Lillian Roth; a dark-haired, statuesque 
girl named Marguerite Churchill, a youngster named 
William Janney and a tall blond youth named Gene 
Raymond. 

Of them all, Ruby was the quietest. She was dif- 
ferent from the other children in her serious outlook 
on life; she knew, young as she was, that on her 
success depended the welfare of her family. They 
staked everything on her and she had to make good. 

She worked like a little slave. At fourteen she 
could out-dance anyone her own age or older. She 
could make professionals look awkward and amateurs 
hide with shame. She was a "dancing fool" who 
loved her work. She could stand in the middle of a 
floor and drum out more taps to the second than any 
other girl tap dancer around Broadway. 

That reason, and the fact that she was fourteen 




Ruby Keeler, as she appeared in her latest smash hit 
musical production, "Gold Diggers of 1933." 

and a soft-eyed little beauty, led Texas Guinan to 
take her on as a dancer in her Three Hundred Club. 

'TpIIERE have been all kinds of stories about what a 
-*- hard-boiled person Texas of the night clubs is, 
and Miss Guinan herself does nothing to soften the 
reports. Yet Texas would have slain any man who 
tried to paw Ruby. She would have torn the man 
to shreds who cracked a joke about Ruby's religious 
medal which she wore even when appearing in the 
middle of the night club in the scantiest of costumes. 
Texas loved Ruby and Ruby, who stayed in her show 
for three years, adored Texas Guinan, 

Ruby danced all night and slept all day; but on 
Saturday nights, she and Texas went swimming or 
attended prizefights. 

Texas saw to it that Ruby's mother was waiting 
in Ruby's dressing-room every night, or else she 
wouldn't let Ruby leave the club to go home. In 
those days Ruby shared a dressing-room with an- 
other dancer who called herself "Princess White 
Deer." {Picas* turn to page 90"> 



The New Movie Magazine, January, 19.34 



57 




Ralph Morgan and his daughter, Claudia, refresh themselves after a strenuous game of tennis 




Ken Maynard goes without lunch when working — between pictures he lunches with his wife outdoors. 



BREAKFAST 

AT SEVEN 

By MARGARET SPENCER 

IF you're going to Hollywood — with serious inten- 
tions — be prepared to get up early. Looking at 
rushes, waiting for retakes — any number of inci- 
dents — may delay a player from half an hour to 
two hours at luncheon or dinner, regardless of the 
importance of the engagement. Hollywood hostesses 
have learned to accept that situation calmly. They try 
to plan menus that will wait without spoiling. You 
cannot count on luncheon or dinner hour, but on work- 
ing days, breakfast is usually served at seven or earlier. 
Will Rogers, who always rises early, believes that 
meal times are six A.M., twelve o'clock noon and 
six P.M., although his wife declares that breakfast 
is the only meal he attends on time. He is always the 
first one at the table for that meal. When it is noon 
the director might just as well (Please turn to page 76) 




Gary Cooper doesn't feel hurt when he breakfasts alone. 



No such thing as regular dinner or lunch hour in 

Hollywood — but breakfast is served early 

58 The New Movie Magazine, January, 193 A- 



YOU MUST COME OVER 

TO THE PARTY 



Let's go along with GRACE KINGSLEY, 

The New Movie Magazine's Hollywood 

Society Reporter 

HOLLYWOOD gone Bowery! Can you imagine 
that? Also gone day Nineties. 
It was a picture, that Yendome Cafe, turned 
into a Bowery dance hall, with all sorts of 
characters there — even "Anna Held," in the person of 
Jeanette MacDonald, huge picture hat and all. 

On the walls pictures of fighters and of burlesque 
queens of a bygone day, while the famous ones, in 
all colors ai <>f dress and character danced the 

old-fashioned dances, sat and chatted, stood about in 
colorful groups, or went down to the bar to refresh 
themselves and listen to the old-fashioned quartette 
sing old songs. 

Here Sally Eilers as a Salvation Army lassie danced 
with Richard Dix as a Bowery slicker, cigar and all. 
i And the cigar, he admitted, was making him awfully 
ill; he never smokes at all!) There Jean Harlow in 
a bathing suit which covered her from neck to ankles. 
She sported a skirt as well, not to mention bathing 
shoes and stockings, romped through an old-fashioned 
waltz with Jimmy Gleason, who was a bold, bad 
gambler. Ginger Rogers, gorgeous as a Floradora 
Girl, hobnobbed over a glass of ginger ale at the bar 
with Sidney Lanfield, the director, who had a hand- 
organ and a monkey. The monkey took a fancy to 
Fay Wray, who was dressed like a sweet-sixteen 
Bowery miss, but Fay, remembering "King Kong," 
didn't care for the animal, so she just simply wouldn't 
dance with Sidney. 



Mr. and Mrs. Darry] Zanuck and Mr. and Mr.-. 
William Goetz were our hosts. Mrs. Zanuck was a 
vision in a pink silk Floradora costume with a big pic- 
ture hat, Zanuck was the tattooed man, and Mr. Goetz 
was a Rough Rider. Mrs. Goetz was charming as a 
Mae West type. 

L7DWARD G. ROBINSON came in an old-fashioned 
*~ i dress suit, with pink silk vest and a huge diamond. 
And Eddie was amused, because he kept catching 
glimpses of costumes worn by him in various Bowery 
and Gay Nineties pictures, including one worn by no 
less a person than Jesse L. Lasky himself! 

Mrs. Robinson wore one of the most charming 
tumes, and, with her blonde wig, looked like Lillian 
Russell. Her dress was a white embroidered linen, 
with a peek-a-boo waist ! It had belonged, she said, 
to her mother. 

Cute as a bug's ear was little Shirley Mason Lan- 
field, dressed in a Jackie Cooper "Bowery" costume. 

Louis B. Mayer considered himself sufficiently liv- 
ing up to costume by wearing an old-fashioned derby. 
George Bancroft was "Chimmie Fadden." Mrs. James 
Gleason was "Mrs. Thomas WhifFen," antedating the 
gay nineties, and being dressed in early Victorian 
clothes, and displaying a twenty-inch waist! 

Dorothy Mackaill came dressed as "Oliver Twist." 
Ricardo Cortez was the handsomest Bowery-ite of 
them all, clad like a Bowery gambler. He brought 
Ginger Rogers. Blossom Seeley wore a Mae .West 
costume. 

One of the most amusing costumes was that worn 
by Aiiine Judge. Her pretty face was framed in an 
old-fashioned bonnet, and her costume was all right — 
Bowery and silk — down to the waist, when it went 
suddenly and amazingly wrong and changed into 



; 




HOW HOLLYWOOD ENTERTAINS 




There was a commotion at the door, and a 

couple, in tights, rode up on a bicycle built for 

two. It proved to be Bonn Levy, the playwright, 

and his wife, Constance Cummings." (Left) . . . 

at the Darryl Zanuclc-William Goetz Party. 

Karen Morley and her husband, Charles Vidor, 
at the Bowery party. 

Richard Dix, as the gambler of the Gay Nineties, 
cigar and all. 



The New Movie Magazine, January, 1931 



:»9 



ordinary silk pants! She sported a 
small black silk parasol which she said 
had been given her by Louise Closser 
Hale, and which she prized highly. 

Richard Barthelmess was a F'lora- 
dora boy. 

But the pay-off happened when a 
bicycle built for two spun up to the 
door, and off hopped two "Black Crook" 
queens, clad in tights, "fats" and all. 
The wearers, we made out, were Benn 
Levy, the playwright, and his wife, 
Constance Cummings. 

Charlie Chaplin came with Paulette 
Goddard, but not in costume. 

There were any number of Bowery 
dudes — Fredric March, Joe E. Brown, 
George Bancroft, Sid Grauman, Sam 
Goldwyn, Jimmy and Bill Cagney, 
Harry Beaumont, Gene Raymond and 
Lyle Talbot — who was badly hurt in an 
automobile accident on his way home 
from the party. 

Raymond Griffith was a sailor. Archie 
Mayo clad in tights, wore across his 
vest front the label, "Flying Trapeze 
Artist." Ruth Selwyn was lovely as a 
sort of sweet-sixteen Bowery miss. 

Mrs. Fredric March (Florence Eld- 
ridge) was a burlesque queen, tights 
and all. And could she have gone into 
the front row! 

When the bugle sounded, our host, 
Darryl Zanuck, made an announce- 
ment. He said it was time for the 
grand march, and the best couple would 
be awarded William Goetz as the first 
prize ! 

WE are going rather continental in 
Hollywood on our christenings. 
Instead of making them ultra solemn 
occasions, they are being followed by 
gay parties. 

A joyous combination christening 
and house-warming party was that 
given • by Papa and Mama Bing 
Crosby and Papa and Mama Richard 
Arlen, at the beautiful English Colonial 
mansion just erected by Bing in the 
Toluca Lake District near Hollywood. 

Huge crowds were there, overflowing 
the white drawing room with its green 
and white chintz curtains and its gor- 
geous big bouquets of flowers, and 
parading the terrace overlooking the 
sunken garden with its barbecue oven 
and rustic chairs. 

We left the crowd to go upstairs, — 
where we found still another crowd, — 
to look at the youngsters sitting quite 
tranquilly in their nurses' laps. Only 
the little Arlen heir seemed a bit 
peevish. But he is the darling of the 
world, with his rosy cheeks and his 
long dark eyelashes ! 

And, oh, that dainty baby suite ! 
There is a great closet devoted to the 
Crosby infant wardrobe — tiny hangers 
and everything. And there is a little 
nursery with flowered paper on the 
walls and the loveliest pink silk, un- 
rockable cradle. And a tiny bathroom 
and bedroom, too. 

The whole house is early American, 
with fresh, dainty wall-papers and 
suitable furniture. Jetta Goudal and 
her husband, Harold Grieve, who at- 
tended the party, were rightly taking 
the credit for the beauty of its furnish- 
ings and drapes. 

ALL the young papas and mamas 
- were there — Mr. and Mrs. Edward 
G. Robinson, Stuart Erwin and June 
Collyer, Helen Twelvetrees and Frank 
Woody, Mr. and Mrs. Skeets Gallagher, 
Arline Judge and Wesley Ruggles, Bes- 
sie Love and William Hawks, — and 
even Sue Carol and Nick Stuart, but 
not together, Sue had come with Ken 




Plinto by Wide World 



Charlie Chaplin, always keen for literary celebrities, gives a dinner party for Emil Luc-wig, 

the famous German biographer. Left to right: Rupert Hughes, the American novelist, 

Paulette Goddard, Charlie himself, and Herr Ludwig, who is in Hollywood assisting in the 

dramatization of "Napoleon," to be played by Edward G. Robinson. 



Murray. Later I spied them feeding 
each other bits of sandwiches! 

Ken Murray was friendly with both! 
I saw him and Nick off in a corner 
talking like two old buddies. 

Then there were the romantic, or, at 
least possibly romantic, pairs — Esther 
Muir and Sam Koslow, Russ Columbo 
and Sally Blaine, Barbara Weeks and 
Big Boy Williams, Mary Brian and 
Russell Gleason, Hoot Gibson and June 
Gale. Fifi Dorsay was to have come 
with Lyle Talbot, but he was in the 
hospital, following his accident of the 
night before. 

Fifi explained sadly that he had 
"contortion of the brain," meaning con- 
cussion. So Fifi came alone. 

Other guests were Jack Oakie and 




Plwto by Wide World 

Hollywood, so recently devastated by an epi- 
demic of divorces, has now taken a turn about 
and become highly romantic, what with mar- 
riages everywhere. Richard Cromwell, young 
screen idol, and Katherine DeMille, pretty 
daughter of Cecil B. DeMille, are the latest 
to get within Cupid's range. 



his mother, Mr. and Mrs. James Glea- 
son, Mr. and Mrs. Frank Craven, Mr. 
and Mrs. Al Rogell, Mr. and Mrs. 
Frank Albertson, Richard Hemingway, 
Mr. and Mrs. Wallace Ford, Mr. and 
Mrs. Russell Mack, Joe Crespo, Mr. and 
Mrs. Pat O'Brien, Mr. and Mrs. Regis 
Toomey, Mr. and Mrs. James Cagney, 
Bert Wheeler, Eddie Sutherland, and a 
score of others. 

And the clothes were lovely. Fifi 
Dorsay wore a black velvet dress with 
short tunic and skirt, silver fox furs 
and a small black satin hat with tiny 
flaring veil. Helen Twelvetrees wore a 
black velvet dress, princesse, with 
muffs at top of sleeves and rhinestone 
buttons down the back. Arline Judge 
wore a pebble crepe, simply made, with 
big rhinestone buckle on the belt and a 
small black toque. Mrs. Edward G. 
Robinson wore a chocolate colored satin 
Maggy Rouff model from Paris, skirt 
and tunic, and a little chocolate color 
antelope skin hat with Mercury wings. 
Mrs. Skeets Gallagher wore a black 
velvet princesse gown trimmed at the 
neck in white ermine. 

Lola Lane came with Al Hall. She 
wore a black corded silk dress with 
belt, a buckle of rhinestones, and a 
white corded silk yoke, the sleeves con- 
sisting of short drapes over the shoul- 
ders, also of corded white silk. Her 
costume was completed with a little 
black velvet hat. Barbara Weeks wore 
a green silk afternoon gown, tight fit- 
ting and plain. June Collyer wore a 
white corded silk dress, with rhinestone 
buckle on the belt, and a tiny hat of 
the same material. 

Sue Carol was clad in a black taffeta, 
belted, its long collar flowing over the 
shoulders and trimmed with narrow 
white taffeta silk pleats, and a little 
white hat to match. 

Jobyna Ralston Arlen wore a suit of 
pale blue flannel, slacks and jacket. 

We chatted with Frank Craven and 
{Please turn to page 102) 



60 



The Netv Movie Magazine, January, 193b 




YOUR MONEY'S 
WORTH IN 

BEAUTY 

"When I was making a small salary 
I always managed to have one good- 
looking outfit." 



IT'S alrm.st the most important thin*; in a girl's 
life," Jeanette Maedonald told me, •'ami it's 
every girl's duty to look her best on i 
occasion, to be well groomed and to make the 
most of her good (joints and try to cover up the 
bad i u 

1 was walking across the studio with Jean 
and as the sun shone on her bare head it brought 
out all the lights in her red-blond hair. I noticed 
her lovely skin, her well-groomed appearance, her 
general air of healthy exuberance and I said to my- 
self: "Why shouldn't she be lovely? She has 
money, maids, everything done for her. What does 
she know about the beauty problem of the average 
girl?" Aloud I said: "What advice would you 
give the girl who hasn't all your opportunity 

"I'd suggest going on a beauty budget," she said. 
"The very first day of the year every girl should 
sit right down in front of the mirror and honestly 
take stock of her appearance— her clothes, her hair. 
her face, every phase of her personal appearance. 
And then plan her campaign to make the most of 
every advantage she possesses. 

"Many girls fail to give their hair proper atten- 
tion." Jeanette told me as I lingered in the studio 
while she ate her light tray luncheon. 

Jeanette has the loveliest hair. When you are talk- 
ing to her you can't keep your eyes from wander- 
ing to it. 

"Light hair like mine," she told me, "has to be 
washed more often than dark hair to photograph 
and look well. 

"Sometimes in the middle of a picture it is im- 
possible to get a shampoo, so I dry clean it. I take 
a thin layer of absorbent cotton and push it well 
down into my hair brush and give my hair a good 
brushing. 

"I keep my nails pliable and the cuticle healthy 
by putting liquid vaseline or cream on them and 
going to bed wearing a pair of white cotton gloves 
two or three nights a week. 

"When I was making a small salary I always 
managed to have one good-looking outfit. If I had 
to make my choice now I would prefer one really 
smart outfit to ten ordinary ones. Accessories are 
my passion. They make or ruin an outfit in my 
opinion. And it's such fun to wear a new set of 
accessories with an old dress and have everyone 
think you have a new outfit. The hat is most im- 
portant, I think. When anyone tells me I am look- 
ing particularly well I always think to myself that 
it must be my hat. 

"WTien you step out of a car your feet are the 
first thing anyone sees. When you are walking 
away from anyone, your feet are conspicuous, so it 
is important to have good looking shoes and nice 
stockings. And I don't try to save money on stock- 
ings. I don't buy the sheerest ones because I think 
that is extravagant ; but I buy good ones. 

"It depends on where a girl lives whether a fur 
coat is a necessity or a luxury. In California a 
fur coat is purely a luxury, but in a cold climate it 
is almost a necessity. There is nothing nicer than 
a good cloth coat with a good fur trimming, how- 
ever. If you can afford it, invest in a good piece of 
fur that can be used on different coats or suits for 
years. If you can't afford good fur, don't have fur 
at all, for while cats and bunnies make nice pets 
they don't stand up very well under hard wear and 
nothing looks cheaper than cheap fur. 

"In fact, I think the best of everything is the 
most economical in the end. I like the best of every- 
thing in my home, too. Years ago, before I could 
afford to buy many things I chose a sterling silver 
pattern for my Hat tableware. I told all my friends 
the name of the pattern and hoped for the best. 
Before I knew it I had a complete set. 

"I like to live well. I think everyone should live 
as well as he can. I always have, but — and this is 
very important — I have always saved ten per cent 
of my income first !" 



Tin New Movie Magazine, January, 193U 



61 





(Above) Lilian Harvey and Gene Ray- 
mond in "I Am Suzanne," produced by 
Jesse Lasky for Fox Films. Included in 
the picture are the Piccoli Marionettes, 
the Yale Puppeteers and sixty of the 
La sky dancing girls. 



(Left) Spencer Tracy and Glenda Farrell 

in Columbia's "A Man's Castle," directed 

by Frank Borzage, one of Hollywood's 

megaphone aces. 



( Below] Anna Sten in "Nana," which 

Samuel Goldwyn is producing for United 

Artists. In the cast are Richard Bennett, 

Phillips Holmes and Lionel Atwill. 



Advance News of New 



All of the latest facts from Hollywood about 
the movies in production and those planned 

BY FRANC DILLON 



EVEN before it is finished, Greta 
Garbo's new Metro-Goldwyn-Mayer 
picture, "Queen Christina," seems to 
be the most important production of 
the month. Not only because it marks 
the reunion of Miss Garbo and Jack 
Gilbert, but also because of its lavish 
costumes and settings and its peek be- 
hind the scenes during one of the most 
interesting periods of Swedish history. 

The story concerns Christina, who 
succeeded her father, King Gustavus 
Adolphus, to the Swedish throne. She 
was crowned King of Sweden instead 
of Queen, and loved to disguise herself 
as a boy and ride about the country 
alone. Although she loved to wear 
boys' clothes, she was really a very 
feminine woman and had many suitors. 

While in Sweden recently, Miss 
Garbo obtained much authentic ma- 
terial — old prints, pictures, histories 
and data from historical societies. Not 



62 



one full-length picture could she find, 
however, of the beautiful young queen. 
For that reason you will see Miss 
Garbo in costumes that are exact copies 
to the knees, but from there down they 
are guess-work. But, so far as any- 
one knows, Adrian, the costume de- 
signer, may have guessed right. And 
who is going to worry about the hem 
of Miss Garbo's garment, anyway? 

The most dramatic scene in the pic- 
ture comes when the beautiful young 
queen (or king) throws off her royal 
robe and tells her people she is ab- 
dicating her throne. The crowd has 
gathered, the people think, to hear her 
accept the proposal of marriage of 
Prince Charles, their war leader. 
After the first shocked silence an angry 
protest arises. And then, like a crowd 
of Hollywood fans, they rush forward 
to snatch a piece of her royal robe for 
a souvenir. 




But the scene the Garbo-Gilbert fans 
will like is when, disguised as a boy, 
she meets Gilbert at a lonely inn, 
where she had arrived before him and 
engaged the last vacant room. It was 
necessary for them to share the room 



The New Movie Magazine, January, 193 % 



John Gilbert and Greta Garbo in one of the 

most effective scenes in "Queen Christina.'' 

the most-talked-about picture of the season 

in Hollywood. 




(Above} Loretto Young in the first of her 

pictures under her new f*ve-year contract with 

Twentieth Century, "Born to Be Bad." 




Films in the Making 



and John discovers that the young 
hoy is a woman. 

ELIZABETH YOUNG, a young act- 
ress who has won her spurs on the 
New York stage but is new to pictures, 
gets a great break in this picture. 
Lunching at the Paramount Studio, 
where she is under contract, she was 
startled one day to have Rouben Ma- 
moulian rush over to her with out- 
stretched arms shouting: "My EbbaJ 
After two months I have found my 
Ebba!" 

Miss Young had never heard of 
Ebba, but she had heard interesting 
tales of the goings-on in Hollywood 
and thought the man must be insane. 
He quickly explained that Ebba was 
the lady-in-waiting to Queen Christina 
and he wanted her to play the part. 
She is the only woman in the cast with 
Miss Garbo. 

She was thrilled, she admits, and 
adds, "Miss Garbo and I have become 
great friends. I like her very much." 

And so Elizabeth is now a member 
of the S. N. A. G. S. (Say Nothing 
About Garbo Society), whose member- 
ship is so small, the desire to tell what 
they know about the mysterious Garbo 
being almost too strong for most 
people to resist. 



"And how do you like Miss Garbo?" 
we asked little Cora Sue Collins, who 
plays the Queen as a little girl. "She's 
nice," giggled little Cora Sue. "I took 
my false teeth out and showed them 
to her and she laughed." Cora Sue, 
aged six, is minus two front teeth, so 
she wore a tiny plate for her scenes 
in the picture. 

THE Garbo set, as usual, was closed 
to all but the people actually work- 
ing on it. There is one school teacher 
at the studio and it was necessary for 
both Romeo, the little Eskimo boy, and 
Cora Sue to have their lessons to- 
gether. For Cora Sue's convenience, 
the school room was moved temporarily 
into the Garbo set, and it fell to the 
lot of Romeo to be dragged unwillingly 
into this sacred territory. 

Miss Garbo's schedule during pro- 
duction never varies a minute. You 
could set your watch by the entrance 
of her old limousine through the front 
gates each morning at seven-forty- 
five. 

She spends an hour studying her 
lines and being made up. At nine 
o'clock on the dot she arrives on the 
set. At nine-thirty, the first scene re- 
hearsed or made, she disappears within 
her portable dressing-room and has 



The New Movie Mapazine. January, 19.;>, 



fruit juice and tea — her breakfast. At 
twelve-thirty she goes to her dressing- 
room and has lunch alone and is back 
on the set promptly at one-thirty. 

Usually at five o'clock, never later 
than six, she calls it a day and goes 
home. If it looks as if the company 
will continue working, her colored 
maid appears with a glass of water in 
her hand. That is the prearranged 
signal that it is time for the Great 
Garbo to go home. And she goes. 

With Lewis Stone as her faithful 
adviser; Ian Keith as her jealous ex- 
lover and Reginald Owen as the war 
leader, Prince Charles, the cast is 
practically perfect. You may not be 
interested in Swedish history or in the 
love-making of Miss Garbo and Mr. 
Gilbert, but even so this picture must 
certainly win you for its sheer pictorial 
beauty, 

MAKING motion pictures may be 
just a "Bed of Roses" to Con 
stance Bennett, but to Lilian Harvey 
it seems to be a scries of broken toes. 

torn ligaments and black-and-blue 
spots. When I saw her dance onto the 
set of "I Am Suzanne" and go gravely 
from one to another — director, camera- 
man, pro)) men. chorus men — and 
shake hands with each one, I wondered 



.;:: 




(Left) Genevieve Tobin, Edward G. Robin- 
son and Robert Barnett In Warner Brothers' 
"Dark Hazard." 




Clive Brook and Irene Dunne in Radio's "If 
I Were Free." 




Joe E. Brown and pretty Jean Muir in 
Warner Brothers' "Son of a Sailor." 

(Left) When James Cagney finds that Mae 

Clarke is in the same compartment with him, 

California-bound, he decided to make the 

best of it, in "The Finger Man." 



if that was a daily occurrence. But I 
was told that she had been home for 
a couple of days nursing- her bruises 
which she got in a dance number for 
the picture. 

Anxiously she stood in front of the 
camera and asked, "Do my black spots 
show?" 

They did, so a make-up man was 
summoned to cover them up with 
grease paint and powder. Some of the 
spots were four or five inches square. 
Or round. So you can understand how 
Lilian suffers for her art. 

"Toboggan riders, make your ascen- 
sion!" sounded suddenly out of a loud 
speaker, and up the miniature moun- 
tain went the riders to the top of a 
real toboggan slide. The whole feet, a 
copy of St. Moritz, was covered with 
snow and ice — only it is a composition 
of hypo-sulphate. And the trick 
skaters told me it was very difficult to 
skate on. 

Soon the whole stage was crowded 
with dancers, skaters, toboggan riders 
and spectators dressed in gaily colored 
costumes of wool, silk, velvet, fur, 
cloth of gold, silver brocade and satin. 
How would you like to go for a sleigh 
ride wearing a satin blouse and crepe 



de chine bloomers? It might not feel 
so good at St. Moritz, but in the huge 
sound stage at the Fox Studio such a 
costume is just dandy. 

THE story is by Rowland "V. Lee, 
who also directs the picture, and 
Edwin Justus Mayer gives you a peep 
behind the scenes of a puppet show 
where Gene Raymond works ; and a 
musical revue next door where Lilian 
Harvey is the star. It takes years to 
learn to manipulate a puppet, but 
Gene did so well in a few days that 
he was offered a job, which he did not 
accept. 

There is comedy, romance and pa- 
thos. The scenes in the children's hos- 
pital where Gene takes his puppets 
to amuse the tiny invalids in order to 
pay the doctor who attends Lilian 
when she is injured, will wring tears 
from the hardest-hearted person. But 
the next minute you will be laughing 
at the antics of Georgia Caine, comedi- 
enne from the New York stage, who is 
a lot like Charlotte Greenwood. 

The Teatro dei Piccoli Marionettes, 
famous in Europe, and the Yale Pup- 
peteers, well-known in this country, 
will be seen. The Yale Puppeteers do 



a review number in miniature just as 
Lilian does it in the St. Moritz scene. 
One of the chorus men in this number, 
"I Want to Build a Snow Man," is 
Gilbert Wilson, who is Elsie Janis' 
husband. He is getting experience and 
learning the business for future ven- 
tures. 

Leslie Banks, who was so frighten- 
ing in "The Most Dangerous Game," 
nienaces Lilian in this picture, and 
sixty Lasky girls, all chosen for ex- 
ceptional beauty, add to the pictorial 
values. I left the set humming the 
music and you'll leave the theater do- 
ing the same thing. 

Lilian continues to be Hollywood's 
most popular star. I mean, with the 
people who work with her day after 
day. With more energy than most 
people she works her director nearly 
to death, but is always gracious and 
charming. I overheard a reporter ask- 
ing for an interview, but the director 
said that every minute of her time was 
taken. "Well, can you come over to 
my house at seven-thirty tomorrow 
morning?" Lilian asked him. When 
the reporter was convinced that she 
was in earnest he promised to try and 
be there. 



64 



The New Movie Magazine, January, 1934 



Every Monday morning she hands 
the head prop man a twenty-dollar 
bill to be used for sodas for the crew 
on the set. She never forgets anyone. 
What a gal! 

DON'T collapse now," said Direc- 
tor Norman IfcLeod to 17-year- 
old Charlotte Henry, "but you are 
going to And so Charlotte 

promptly collapsed. When she had 
finished collapsing she cried and cried 
and cried. And then she felt just 
dandy. 

Even if you are more than seven- 
teen years old, you can imagine the 
thrill of winning a role that was 
sought by 7.000 girls from all over 
the World. Blende Ida I.upino came 
all the way from London to put in her 
application for the part and although 
she didn't get it, she did win a con- 
tract with Paramount. 

Charlotte was the very last girl to 
apply for the job. In fact, the direc- 
tor had decided not to make any more 
tests, but changed his mind when he 
saw Charlotte, who thinks that prayer 
had a lot to do with his decision. That 
is, her prayers, of course. Now she is 
about the happiest little girl in Holly- 
wood, "or anywhere," she says. Even 
when they kept her in a tank of water 
for two days, her ardor was not damp- 
ened and she is thrilled that many 
stars whom she has worshipped from 
afar for years are actually working in 
the picture with her. 

THE very first day on the picture 
she collapsed again, which makes 
her a regular collapser, but Louise 
Fazenda did, too, which makes it all 
right. It all happened because every- 
one was very nervous and when a rub- 
ber tire, which Louise was wearing 
underneath her costume, exploded 
with a loud bang, both Louise and 
Charlotte fell on the floor in a heap of 
hysteria. 

Her mother won't come near the 
studio. Says she doesn't want to be 
a stage mother, and Charlotte, left 
unchaperoned for the first time in her 
life, goes on a regular spree of ham 
sandwiches and sodas every day for 
lunch. You'll see the picture Christ- 
mas week. Charlotte goes to New 
York to make personal appearances 
with it. Her salary is a modest one, 
but her contract calls for more money 
soon. She's young, healthy, pretty and 
hasn't a teaspoonful of temperament 
—yet. 

All the characters of the book will 





Rochelle Hudson, Will Rogers and ZaSu PiHs in "Mr. Skitch." 




The eight beautiful girls in "Eight Girls in a Boat," the Paramount production directed 

by Richard Wallace. 



Paul Lulcas and Elissa Landi in a scene from 
"By Candlelight," produced by Universal, 
one of the most delightful stories of the 
year. Esther Ralston, Nils Asther and Dorothy 
Revier are also in the cast. 



be seen in the picture — the White King 
(Ford Sterling) ; the White Queen 
(Louise Fazenda); the White Pawn 
(Billy Barty); the White Rabbit 
(Skeets Gallagher) ; Mouse (Raymond 
Hatton) ; the Dodo Bird (Polly 
Moran); Caterpillar (Ned Sparks); 
Frog (Sterling Holloway) ; the Duchess 
(Alison Skipworth) ; Cook (Lillian 
Harmer) ; the Cheshire Cat (Richard 
Arlen) ; the Mad Hatter (Edward 
Everett Horton) ; the March Hare 
(Charles Ruggles) ; the Dormouse 
(Jackie Searle) ; the King of Hearts 
(Alec B. Francis); the Mock Turtle 
(Bing Crosby), who sings "Soup, 
Soup, Beautiful Soup"; the Red Queen 
(Edna May Oliver) ; Tweedledee (Jack 
Oakie) ; Tweedledum (Roscoe Karns) : 
the Queen changed into a sheep (Mae 
Marsh); Hiunptii I'mapty (W. C. 
Fields); the White Knight (Gary 
Cooper) — they're all there, and I 
imagine when you see the picture you'll 
imagine you are seven again! 

IF you like your pictures a riot of 
confusion and noise and laughs, 
don't miss "Hollywood Party." With 
Jimmy Durante going at his usual 
pace, to say nothing of Lupe Velez 
after him with a knife, Polly Moran 



and Jack Pearl adding comedy, you 
will be lucky to emerge from the thea- 
ter in a sane condition. 

The picture moves so fast you can't 
possibly keep up with the plot, written 
by Howard Dietz and Arthur Kober. 
But when you can sit and laugh, why 
bother about plots? 

June Clyde and Eddie Quillan fur- 
nish the love interest; Ben Bard is 
Sharley to Jack Pearl's Baron Mun- 
chausen, and Richard Carle and Tom 
Kennedy also appear in important 
parts. 

Richard Boleslavsky, who ordinarily 
makes drawing-room pictures, directed 
this one. 

Every morning before she went on 
the sot Lupe Velez would rush up to 
someone and ask: "What is that di- 
rector's name?" and then when she 
had to address him, having already 
forgotten his name, would say, "Oh, 
you bowl of sumpteeng!" 

One day Lupe forgot her lines. Over 
and over they took the scene and every 
time Lupe forgot. Suddenly she looked 
up and saw Johnny Weissmuller watch- 
ing her. "Now I know what ees the 
matter. You watch me. I make 
meestake. You go 'way!" Lupe ex- 



The New Movie Magazine, January, 193A 



65 




claimed. And Johnny ran off that 
stage faster than he ever swam in his 
life. 



ANY picture with Jimmy Cagney as 
•the star must be interesting, if 
for no other reason than because he 
is in it. In "The Finger Man," an 
original story by Rosalind Shaffer, you 
see Jimmy first as an usher in a movie 
theater, then a thief, next as a rack- 
eteer, a bum and then doing extra 
work in motion pictures, which eventu- 
ally leads to stardom. 

Someone had a brilliant idea to use 
scenes from Jimmy's pictures to show 
his rise from extra to star. "Which 
would make it look as if the picture 
was a story of my life," said Jimmy, 
who thinks, and yelled his head off until 
the fellow who thought that up disap- 
peared in the direction of the Thou- 
sand Islands. Or was it Toluca Lake? 

Mae Clarke plays the girl who lives 
in sin and conies to no good end when 
Jimmy grabs her by the hair and 
throws her out into the night. They 
had quite a time deciding just how 
Jimmy should manhandle Mae, because 
Jimmy has his public to think of and 
just must manhandle a woman in 
every picture. 

Remember how he rubbed grape- 
fruit in Mae's face in "Public Enemy?" 

Margaret Lindsay is the good little 
girl who gets her reward — Jimmy, of 
course — but she also has to put up 
with animals of all kinds. Jimmy had 
just arrived at the stardom stage 
when I visited him on the set and I 
heard Margaret screaming: "They're 
in the bedroom, in the bathroom, in the 



The first airplane musical to sing and dance 
on the screen is RKO's "Flying Down to 
Rio," with a rhythmic cast containing Dolores 
Del Rio, Ginger Rogers, Gene Raymond and 
Fred Astaire. Above is a rehearsal in 
progress, with Miss Rogers and Fred Astaire 
at the rear right. This photograph is par- 
ticularly interesting because it is typical of 
the "waiting time" so little understood by 
the layman who is permitted inside a studio. 
The actual "shooting time" is frequently not 
more than ten minutes out of the day's work. 
The remainder of the day is consumed with 
rehearsals and waiting time — waiting for 
lights to be arranged, for the microphone to 
be adjusted, for missing "props" to be found 
and for other innumerbale, unforeseen delays. 



ice-box — everywhere. I simply can't 
stand it ... " But just at that mo- 
ment she was interrupted by the but- 
ler. "I beg pardon, ma'am," he said. 
"There's a man at the door with an 
elephant." And it was only monkeys 
that Margaret was complaining about 
so bitterly, thirty-six of them. And 
Margaret was delighted when six of 
them were lost one day on location. 

IN an exciting chase when gangsters 
are after Jimmy and the police are 
after the gangsters, a scene was taken 
that had never been written into the 
script. Speeding down the road at 
better than fifty miles an hour, Jimmy 
ran into a bit of wet pavement at the 
same time a car coming from the op- 
posite direction reached the spot. Both 
cars spun around and stopped a few 
inches apart. Jimmy looked up at the 
driver of the other car. It was his 
brother, Bill. 



"Have a heart, Jim," said Bill. "Re- 
member I've been married only two 
days." 

Roy Del Ruth is directing this pic- 
ture and it looks and sounds like a 
natural for Jimmy Cagney's fans. 

"T)UT I don't want to carry, an ac- 
-D cordion. I want to carry a fiddle. 
I can play a fiddle." 

It was Will Rogers, arguing over a 
scene for his current picture, "Mr. 
Skitch." The script called for an ac- 
cordion; dialogue had been written 
about an accordion and so Director 
James Cruze won the argument that 
day and insisted that Mr. Rogers carry 
an accordion. 

But when it came to an argument 
over letting Mary Rogers work in the 
picture — well, that was a different 
story. Mr. Cruze made tests of her. 
"She was perfect for the part and I 
wanted her," he said. But Will Rogers 
said, no. He didn't want people 
saying that his daughter got a job 
through her dad's influence. 

"And after all," Mr. Cruze ex- 
plained, "Mr. Rogers can be head man 
in his own family." 

So Will won that argument and 
Rochelle Hudson, who has been seen 
too seldom recently, fell heir to the 
role. Good-looking Charles Starrett 
plays opposite her. 

WILL ROGERS, who has been just 
about everything in his pictures, 
is seen as an extraordinary tourist in 
this story by Anne Cameron. Most of 
the settings for the picture are auto 
camps, so you can imagine the oppor- 
tunities for the good old Rogers' 
touches. 

Harry Green, as usual, wrote his 



66 



The Neiv Movie Magazine, January, 193 1 




own dialogue and there are some very 
amusing situations between him and 
Will Rogers. Both of these comedians 
ad lib a lot, which caused James Cruze 
to tear his hair even though he had 
to laugh. 

Florence Desmond, that clever little 
English girl who impersonates every- 
one of importance, plays herself in the 
picture. She has added an imperson- 
ation of Rogers to her collection and 
it's funny how people — even famous 
people — like to see themselves imitated. 

ZaSu Pitts is also in this picture, 
just to complete an already perfect 
cast. Mr. Rogers calls her "Bazoo." 
"She's different from other Hollywood 
girls," Rogers said. "She looks dumb 
but she's really smart." 

The script called for twin girls about 
ten years old. A search was begun 
and lots of twins .submitted to Mr. 
Rogers, but to each pair he said, "No." 
"I don't want beautiful little made-up 
girls." He finally said. "I want lit- 
tle girls that look like little girls." 
The search ended when Glorea Jean 
and Cleora Joan Rubb were given the 
job. And they weren't twins at all — 
but. cousins! 

BETTER than good enough" is the 
way Samuel Goldwyn described 
"Nana," the setting for his new Rus- 
sian star, Anna Sten. And he has 
spared no expense to make it perfect. 

A year was spent in teaching Miss 
Sten to speak English and not until 
her teacher pronounced her ready, did 
Mr. Goldwyn make preparations to 
present her in a picture. When the 
picture was half finished he declared 
it was "not good enough." 

He scrapped every bit of the film, 
hired a new director and cast and 
started all over again. Two hundred 



and fifty thousand dollars' at least 
thrown into the ash can. "But 'Nana' 
must be good enough to guarantee Miss 
Sten's future on the screen," Mr. Gold- 
wyn explained; and with a hand that 
is as infinitely patient as it is lavish, 
he is spending a fortune on it. 

Willard Mack and Harry Gribble 
adapted Emile Zola's bitter romance 
of the streetwalker who became an 
actress and a fine lady, with the circus- 
colored, gas-lit Paris of 1870 as a set- 
ting. And Dorothy Arzner, the only 
successful woman director at present, 
is in charge. 

Lionel Atwill and Phillips Holmes 
are the brothers with w'hom Nana has 
her final fling; Richard Bennett is the 
Greincr who pilots her destiny in the 
theater. Mae Clarke and Muriel Kirk- 
land are always at her side as the 
Satin and the Minn of the story. 

Mae Clarke, who is suing Phillips 
Holmes for damages she received when 
riiling in his car which he ran into 
a curb, has ardent love scenes with 
him in this picture. The suit didn't 
seem to affect their ardor, however, 
and apparently they are still the best 
of friends. 

WHEN it was announced that 
Dorothy Arzner would direct the 
picture, she received many telephone 
calls from her friends begging her not 
to undertake the job. 

"That Sten girl is the most tem- 
peramental woman in the world. You'll 
ruin yourself and only get wrinkles," 
they said. But Dorothy, who has had 
experience directing many of Holly- 
wood's stars, told me after three weeks 
on the picture that "never in all the 
years of my experience have I known 
a less temperamental woman. She is 
simple, direct and without affectation." 



Which, j-ou must admit, is quite a 
statement. 

Miss Sten gets quite worked up be- 
cause writers continually refer to her 
as a German. 

"I'm not a German. I never was a 
German. I'm a Russian and lived in 
Germany for two years. Now I'm a 
naturalized American citizen and, 
more than that, I'm a Californian." 

Lionel Atwill, who replaced Warren 
William in the cast when Mr. William 
could not be spared from his own 
studio long enough to appear in the 
new version of "Nana," has curly hair 
and therefore didn't have to suffer the 
agonies of having his hair permanently 
waved as Mr. William did for the role. 

Samuel Qoldwyn. pictures always 
maintain a high standard; you can't 
go far wrong in seeing them all. And 
"Nana," as a setting for Miss Sten's 
American debut, promises to be very 
interesting. There is a friendly feel- 
ing in the company that augurs well 
for the success of the picture. 

THE presence of Ann Harding in a 
picture always makes that picture 
important to this reviewer, and, too, 
the fact that she considers "Gallant 
Lady" a good story and that she is 
surrounded by an excellent cast, make 
this picture one to be put on your list 
of pictures to see. 

Gilbert Emery, who wrote "Tarnish" 
and many other successes, with Doug- 
las Doty, wrote the original story, and 
Sam Mintz made the screen adapta- 
tion. Gregory La Cava directed. 

I was watching them make a scene 
on a pier. The huge sound stage at 
United Artist looked like the inside of 
a pier without any alterations, and 
when a gangplank was built just out- 
(Please turn to page 104) 



The New Movie Magazine, January, 193k 



67 



The PEOPLE'S Academy 



Fundamentals: Films are being- 
emasculated by the new standard of 
taste which abject snobbishness has 
erected. 

Is it "sophisticated?" 

Neither story nor dialogue nor char- 
acter stands a chance unless it comes 
under that head! 

Unless, that is, it is shallow, affected 
or sexy. 

I suppose it is no use pointing out 
that the greatest literature and drama 
has been made great by directly oppo- 
site qualities — by depth, simplicity and 
naturalness. 

Was "Romeo and Juliet" sophisti- 
cated? Was "Faust" affected? Was 
"Adam Bede" shallow or "Ivanhoe" 
sexy? 

Hollywood! Get down to funda- 
mentals!— Barbara Fletcher, Flat 4, 205 
Dickson Road, Blackpool, Lanes, Eng- 
land. 

Remakes in Sound: Since producers 
are having more and more old silent 
films made into talkies, why can't we 
have some of the old "kid" films remade? 
Jackie Coogan's pictures, for instance, 
especially that child classic, "The Boy 
of Flanders." We all loved that picture 
back then and, since our tastes haven't 
changed so much in a few years, we'd 
all adore it now. With Dickie Moore in 
Jackie's role, the film would be perfect. 
Another film I'd like to see with the 
addition of sound is "Ben Hur." I 
hardly think it needs to be remade (in 
my opinion the acting and filming 
couldn't be improved upon), but with 
the addition of sound it would be 
superb — what a thrill seeing those two 
pictures again would bring! — Mrs. Effie 
Myers, Williamsport, Ind. 

Let Bruce be Himself: Who started 
this "he looks so much like Clark 



The People's Academy of Motion 
Pictures (sponsored by THE NEW 
MOVIE MAGAZINE) will present 
twelve gold medals for what the 
readers of this magazine consider to 
be the twelve outstanding achieve- 
ments of the year 1933 in the films. 
Letters from our readers, carefully 
tabulated, will be the sole guides to 
these awards. 

These letters may be addressed to 
either The People's Academy or to 
the Dollar-Thoughts department of 
this magazine, 55 Fifth Avenue, 
New York, N. Y. 

You are the judge and the jury. 
Write us what you think. 

The medals will be given for the 
following: 
1 — Best all-around feature picture 
2 — Best performance (actress) 
3 — Best performance (actor) 
4 — Best musical picture 
5 — Best human interest picture 
6 — Best mystery picture 
7 — Best romance 
8 — Best comedy 
9 — Best short reel picture 
10 — Best news reel picture 
11 — Best direction 
12 — Best story 




"We'd like to see more of Robert Mont- 
gomery and Madge Evans as a team. They 
balance and complement each other per- 
fectly, we think. " 




"How about William Powell and Janet Say- 
nor in a picture together?" 

Gable" idea ? Good grief! why don't 
they let Bruce Cabot be himself, in- 
stead of typing him ? He's really good. 
It's about time he got a big chance. 
Clark Gable — poof! Why, Bruce can 
run rings around him any day. And 
while we're on the subject, who is dis- 
satisfied with Adrienne Ames ? Is it 
her fault that she looks as she does? 
Give the girl a break. Crawford is 
Crawford; there's no doubt about it; 
so let Ames be Ames. Even if you don't 
like her looks, there are others that do. 
Maybe you've never looked in a mirror. 
Here's to Bruce Cabot and Adrienne 
Ames, and I'll stand up for them any 
time. — Dorothy Bel Cranston, 1145 A 
Madison, S. E., Grand Rapids, Mich. 

Here's a Prediction: In anticipation 
of the coming Garbo picture I wish to 
make a prediction about John Gilbert. 
He will be a tremendous success. Why 
shouldn't he be, in the choicest male 
role of the season, opposite the one and 
only Greta Garbo ? With this grand 
opportunity as a weapon he will gal- 
lantly fight his way back into your 
hearts as only John Gilbert can. He 
has the acting ability — the screen per- 
sonality — and the manly vitality to win 
the admiration of everyone. 

I am anxiously waiting to see "Queen 
Christina" and take a bow to Greta 
Garbo for her selection of John Gilbert 



as her leading man. — Albert S. Wei- 
man, 4002 York Road, Philadelphia, Pa. 

Come on, Joan: Instead of razzing 
Joan Crawford all the time, give her a 
break. I am tired of hearing fans 
criticize her since her divorce. What 
if she did divorce Doug? That is her 
own personal affair and you can be sure 
she had a good reason and didn't do it 
just for publicity. Come on, Joan, keep 
your chin up, square your shoulders and 
let's see lots of you. I loathe a weak 
woman. P. R. C, 101 Cornelia Street, 
Pittston, Pa. 

Jean Not Herself: In all the pictures 
I've seen Jean Harlow in, she acts 
divine! — but I don't believe it -is really 
herself. Why not put her in a role that 
is really Jean? I'm sure she would 
make a hit — and we fans would love 
to see what she really is! 

You don't need to tell me that Myrna 
Loy is beautiful! — such perfect lips, 
nose and eyes! But why not give her 
some big roles soon ? — Dixie Alice 
Franck, Route 2, Box 61, Denton, 
Texas. 

That Mysterious Allure: My hat is off 

to that mysterious, handsome actor, 
none other than the incomparable Nils 
Asther. 

There's an actor who has that mys- 
terious allure which makes him create 
an impression without uttering a word. 
Besides that, he has that certain some- 
thing which shines forth from no other 
screen actor. I never miss any of his 
pictures and I enjoy 'em tremendously. 
I wish they would team him with Greta 
Garbo again and I wish the fans would 
discover him the way they discovered 
her. 

Nils is too wonderful for words — 
Marie B. Gutierrez, Albuquerque, N. M. 

"You All" Are Wrong: I just want to 
know where you get that "you all" stuff 
when the actors and actresses are 
speaking to one person? You certainly 
couldn't have been South. 

Jack Oakie did it in "Too Much Har- 
mony." That negro did it in "Wild 
Girl," and I've seen it quite a number 
of other times. 

That expression grew out of our 
southern hospitality, meaning to in- 
clude everyone all of the time. We 
never use it to mean one person; not 
even the negroes do that. And I (quite 
a few others have expressed the same 
opinion) think you are over-doing it. 
You just show that you don't know the 
first thing about the southern people. — 
Mrs. Blanche L. Solomon, Savannah 
Beach, Ga. 

Middle Age in the Movies: Why do 

young movie actresses think middle age 
is finis to their careers ? 

As I thrilled to "Lady for a Day," I 
thought I would rather play the part 
of "Apple Annie" than any other. It 
was a grand role and May Robson acted 
it superbly.— Mrs. C. D. Palmer, 2513 
Northway Avenue, Fort Wayne, Ind. 

Which? The Garbo Influence vs. The 
West Habit: We are creatures of habit 
and how quickly we can form one! 
We, members of the great movie mob, 



68 



The New Movie Magazine, January, 193b 




"Why is it we oil like Aline MacMohon? 

Because she is natural, and not affected, as 

most stors are." 



see a glamorous, glittering, slender and 
appealing lady, illusive and with the 
mysteries of the universe in her fathom- 
less eyes — and we all want Garbos on 
the screen henceforth. Nothing less 
will satisfy us. We have formed the 
Garbo habit; it's the Garbo influence 
at work. 

Then along conies an "inviting' (c m 
up 'n see me some time), sexy, curvy 
lady, who is no angel and has done him 
wrong — ladies and gentlemen, I (rive 
vou Mae West! And now, what have 
we? A little more fat here, a few 
more curves there, hips to the right of 
us, busts to the left of us, every 
mother's daughter trying to develop. A 
million "inviting" little Maes, acting 
like no angel ever acted, are all about 
us. We now have the Mae West habit. 

I'm biding my time 'till that thar 
Quei ii Christina flashes across the 
screen. Will w^e shed our Mae Wes 
habit and return to the Garbo influ- 
ence? We shall see.— Kay Newton, 
201 E. 24th St., Minneapolis, Minn. 

C'mon Over Santa: I wish to con- 
tribute my little thought to your mag- 
azine. 

Dear Santa Claus: 
Dear Santa Claus, I don't want much, 
Just one gift or two; 
For a while I'll be content 
With Bennett's eyes of blue. 

Then, for a while, if you don't mind, 

I'd like another gift; 

This time I think it shall be 

The figure of Mae West. 

Then last of all, but far from least, 
A present to make me content, 
I'd live mv life over, if I could have, 
The look of ZaSu Pitts 
— Bernice Gregory, 1805 Washington 
Street, Wilmington, Del. 



Give us more of Franchot Tom-. He 
will surely be a great star. I liked him 
so much in "Midnight Mary" that I 
saw the picture four times. Gir' 
you're looking for an ideal man, 
now you like Franchot Tone. — Dor' 
Black, 7648 Sagamon St., Chicago, 111. 

Powell and Gaynor: How about Wil- 
liam Powell and Janet Gaynor in a 
picture together? It may sound im- 
possible — hut Powell is so worldly wise 
and Gaynor so "delicious:" . . . Why 
not? — Gwendolyn Woodward, -127 N. 
18th St., Fort Dodge, Iowa. 

Suggestions: What is all this tosh 
about Nils Asther being the "male 
Garbo?" The handsome Swedish gen- 
tleman must either be sadly lacking in 
finesse or he has an exceptionally 
stupid press-agent. Possibly both. 

Doesn't Asther know that such pub- 
licity will be actively resented by both 
Garboites and anti-Garboites ? Tha 1 : 
the pros will want to boil him in oil 
for stealing the Great One's very spe- 
cial thunder, and the ant is will heart- 
ily dislike him because he purports to 
be the masculine equivalent of what 
thev most detest in the feminine orig- 
inal? 

Pith-lease, Mr. Asther! Be yourself 
— an intriguing, exciting, fascinating, 
spectacular screen personality. (Who 
cares what you are off the screen?) 
And if you simply must go for those 
famous long, lonely walks in the rain — 
at least, take along an umbrella. Garbo 
may not catch a cold, but you might 




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dollar for 


every 


interes 


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and 


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3ublishe 


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ollar-for- 


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-Thoughts, 


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"And when he rolls those eyes, why, my heart 

just seems to stand still. Who? — why, you 

know it's Baby teroy." 



Simply Natural: Why is it we all lik. 
Marie Dressier, Guy Kibbee, Glenda 
Farrell. and Aline McMahon? Because 
they act natural, not affected, as most 
stars do. They are like people you 
know in real life, and that is the way 
they are in reel life. 

All the world abhors artificiality in 
any form, so why make movies where 
the actors and actresses do not act like 
human beings? I am sure that much 
of the depression in the Hollywood 
studios could be traced to this one 
fault — artificiality. — Lucille Hanson, 
2630 N. 41st St., Milwaukee, Wis. 

Slapstick Condemned: Some mis- 
guided movie critics have condemned 
"Tugboat Annie" as being pure slap- 
stick, cheap comedy and unadulterated 
hokum. It must be something they ate! 

If "Tugboat Annie" be pure slap- 
stick, then I'm quite willing to make 
the most of it; quite willing to see a 
few more similarly slandered pictures. 
It is at least a picture that makes a 
fellow laugh . . . and that's something. 

Call it slapstick, cheap comedy or 
hokum ... if it tickles the risibilities 
it has achieved at least one definite 
purpose. I may be wrong, but it seems 
to me that the main purpose of a pic- 
ture is to entertain. Surely if it sets 




"Whether you agree with me or not, I t hin'c 
Miriam Hopkins is the best young actress in 
the movies." . . . Here you see Miss Hopkins 
entertaining an old-time pal of the New York 
stage, Peggy Conklin. Miriam is now in the 
oft-planned and oft-delayed "Chrysalis." 



contract pneumonia. All Swedes can't 
stand the California climate! — Irene 
M. Woodruff, 26 Monument Square, 
Charlestown, Mass. 

Encore! Encore! Katharine Hep- 
burn — the very personification of in- 
dividuality. That is my opinion of her. 
She has straight, perfect, white teeth; 
her nostrils have a cultured cut; her 
voice comes from the screen, so unex- 
pected, but still, after a word or two. 
so satisfactorily. Her face and body 
are shapely and thin, but not bony, and 
she wears her clothes to perfection. 
Miss Hepburn certainly is "the year's 
outstanding star." Here's to her 
superb acting in "Morning Glory" and 
may we see more of her! — Miss Ruth 
Walker, 17 Plover Road, Quiney, Mass. 




The New Movie Magazine, January, 103 A 



C,'.< 




Douglass Montgomery, winning one of 
the prize roles of the year — Laurie in 
"Little Women" — is up and coming. 
You'll hear a lot about him during the 
next few months. 



you into a rollicking gale of laughter it 
has entertained. And how could "Tug- 
boat Annie" do otherwise than enter- 
tain when Marie Dressier and Wallace 
Beery are teamed up together? Ask 
me another! — Jasper B. Sinclair, 318 
20th Avenue, San Francisco, Cal. 

What Do You Say? We'd like to see 
more of Robert Montgomery and Madge 
Evans as a team. They balance and 
complement each other perfectly. To- 
gether, they are doubly effective. And 
Miss Evans has the most beautiful 
feminine voice in the movies. — Mrs. 
Thomas Lockington, 109 West Mercer, 
Seattle, Wash. 

Why Waste Montgomery? Ordinar- 
ily, Robert Montgomery is very clever 
and can steal a picture from the best, 
but in "Another Language" he was so 
weighted down with jealous characteris- 
tics that he could not carry any laurels. 
Anyone who heard him broadcast sev- 
eral weeks ago has to admit that he is 
in step with Hollywood's best. Why 
place Montgomery in such a role as 
the one he played in "Another Lan- 
guage?" Most Columbus fans disliked 
him and it will not take many pictures 
like this one to ruin him. Helen Hayes 
climbs a little closer to perfection with 
each picture she gives us. — Kathryn L. 
Uhrig, 310 South Burgess Ave., Colum- 
bus, Ohio. 

Varied Tastes: For real cultured en- 
tertainment. I liked "White Sister" 
best. "State Fair" was as good as a 
visit to the folks back home, whereas 
"42nd Street" was just what I needed 
to make me forget hard times. My 
favorite artist is Marie Dressier-, though 
I like them all. 

With millions of movie fans and 
varied tastes, there's room for much 
talent. But judging from some fan 
letters, they can't please everybody. 

Personally, I can't see any sense in 
knocking those I don't happen to fancy, 
because the stars we are goofy about 
somebody else no doubt considers all 
wet — and there you are. I figure they 
have to be good to get where they are 
and the artist is not always to blame 
for a poor picture. 

However, I find that I must first re- 
spect a person before I can appreciate 



his talent, otherwise I lose interest. And 
I cannot tolerate snob stuff or sex pic- 
tures that remind me of cheap carnival 
side-shows. 

I like The New Movie Magazine be- 
cause it is chock full of interesting ma- 
terial and priced so that we can afford 
to read it.— Mrs. Bessie G. Royce, 1203 
South Ave., Syracuse, N. Y. 

Dimples Galore: He's got the sweet- 
est smile I ever saw and dimples 
galore! And when he rolls those eyes, 
why, my heart just seems to stand still. 
Here's to the cutest and most captivat- 
ing little kid on the screen — who ? 
Baby LeRoy! — Lovina Spaulding, 128 S. 
Broadway, Redonda Beach, Cal. 

Unhappy Endings: I wonder when the 
producers will decide that we have had 
enough tragedy for a while and give us 
a few pictures with happy endings. 
For the past year or longer the pictures 
of the highest ratings have been stories 
of grief and woe. Is it necessary to 
have death scenes in order for the play- 
ers to show their best work? I cen- 
tainly hope that future pictures will in- 
clude at least a few more of the more 
pleasant type. 

I should like to have more singing in 
the movies. There is plenty of talent, 
why let it go to waste ? John Boles 
acts well enough and is certainly good 
to look at, but since he is endowed with 
a golden voice, why not let the public 
have a chance to enjoy it? Because of 
John Boles' singing, "The Desert Song" 
and "Rio Rita" are immortal in my 
memory. I plead for more on the same 
order. — Frances B. Lilly, Box 504, 
Welch, West Virginia. 

Those Chronic Annoy ers! Can't some- 
thing be done to kill or cure the chronic 
peanut-eaters, sack rattlers, perpetual 
conversationalists and self-appointed 
vocal and foot accompanists to musical 
scores who spell absolute ruination to 





Ida Lupino, sixteen-year-old member of the 
English stage family which has been 
prominent theatrically for more than three 
hundred years, traveled six thousand miles 
to Hollywood to take tests for the part of 
Alice in "Alice in Wonderland." She didn't 
get the part, but she did get a contract — 
and you'll be seeing her in this and that 
Paramount picture, if not in "Alice." 



Photo by 



Pola's back, Pola from Poland. Her first 
venture is a New York stage play, then, per- 
haps, another adventure into American 
movies. This is her latest, and assures you 
that she is the same dashing creature. 

an evening's entertainment? 

It is amazing, the number of people 
who go to the movies for a lap picnic! 
The point of an entire picture may be 
lost when, at a highly dramatic mo- 
ment, one's thick-skinned neighbor 
plunges into the depths of a sack after 
a chocolate caramel, starting a rattle 
like that of a tin roof in a rain storm! 
— G. Ann Shelberg, R. 1, Nelson, Minn. 

How About Africa? Gable — I admit! 
He's all you say and more — tall, dark 
and handsome — and a regular fellow!!! 
But when it comes to good looks, Gene 
Raymond has it all over Clark like a 
tent. We want more pictures with 
Gene Raymond and Carole Lombard. 
What a couple!! What a couple!! 

We also want some new and enter- 
taining "Betty Boops" and "Mickey 
Mice . . ." (I guess that's right — plural 
of mouse is mice.) 

I can truthfully say that the sugges- 
tion for more animal pictures didn't ap- 
peal to me and a number of my friends. 
We've too many animal pictures as it 
is. Give us a good drama and leave 
the animals in Africa. — Lily Schure, 
212 Division Street, Amsterdam, N. Y. 

Answers, Please: All these actresses 
that have been before the public for the 
last three years doing the same old 
stuff, over and over again . . . For in- 
stance, Janet Gaynor, Karen Morley, 
Carole Lombard and Myrna Loy. They 
never seem to change, always the same 
old poker faces who make one feel they 
are only acting to please themselves, 
and in a very indifferent way, too. Hol- 
lywood is full of good people who can 
ACT, with variations, at least. Why 
not give them a chance? They'll work 
for half the outrageous salaries, I'm 
sure. 

I am very much relieved to find that 
Paramount has at last found some poor 
soul to play "Alice," in "Alice In Won- 
derland." (I can't see what they want 
to make that picture for, in the first 
place.) And the girl they picked (Char- 
lotte Henry) is one who has been in 
pictures before. I thought they were 
looking for that "New and Different 
Type."— Bryan Waller, 222 So. Ram- 
part Blvd., Los Angeles, Cal. 



70 



The New Movie Magazine, January, 193 4 




KAY FRANCIS' 
TEN RULES 

for 
SMARTNESS 



1 Study your figure carefully and wear only the lines that 
set it off to the best advantage. 

Q Insist on good moterials; to buy cheap ones is false 
economy. 

O Be sure that everything you wear fits perfectly. An 
extra fitting will pay high dividends in smartness. 

/ Never buy anything unless you are positive thot it "suits 
your type." I have few rules about what I wear and 
what I will not wear, but as soon as I put a dress on 
I know instinctively whether it is "my dress" or not. 

K Again, when buying, be practical. Don't let fads or 
the gorgeousness of some model make you forget for 
what purpose you want the garment. 

A Pay especial ottention to accessories. They make or 
ruin a costume. They may match or contrast, but they 
should be carefully assembled, in not more than two 
colors, one of which should match the dress or coat. 

~j Select fashionable colors of the moment only if they 
ore becoming to you. For instance, if eel gray makes 
you feel and look depressed, don't wear it, even if you 
do see quantities of it in every shop window. 

Q If you are above medium height, never wear low heels 
to make you look shorter. They are in good taste only 
with sports clothes and costumes designed for walking. 
With dressy or formal clothes, flat heels only serve to 
call attention to your height, thus defeating your pur- 
pose in wearing them. 

Q Watch your carriage. Gowns immediately take on 

added distinction if you stond and walk erect. 
10 Never attempt the exotic. Bizarre, fantastic, extreme 
effects may attract ottention — but, if you wish to be 
colled truly smart, it is not the attention you want. 



FASHIONS 



DIRECT FROM THE STARS 

Here is a new sort of fashion 

service for the New Movie 

Magazine Reader 

WHO is the best dressed woman in Hollywood? That's 
a question that is so much easier to ask than to 
answer. In a way it's a little absurd to try to ai 
it with any intention of finality, because to do so 
would indicate a single standard of perfection in dress. And 
the real charm of fashion depends on variety, on personality 
and individuality. Your opinion on this subject would de- 
pend on your own personality and your own style in dn 
You may especially admire the style of some woman whom 
you resemble in some way or another or you may be attracted 
by one who is your complete opposite. 

Possibly there is no place where it is so difficult to settle 
this question of first place in fashion as in Hollywood because 
there is no place where one finds so many beautiful women 
with the good taste and money needed for perfect dressing. 
Lilyan Tashman, one of Hollywood's best dressed women, 
has nominated Norma Shearer, while Lilian Harvey, another 
exquisitely dressed woman, decides in favor of Kay Francis. 
Other stars, whose names are most frequently mentioned 
when this topic of smart dressing is up for discussion, are 
Claudette Colbert, Constance Bennett, Ruth Chatterton, 
Bette Davis, Marlene Dietrich, Miriam Hopkins, Carole Lom- 
bard, Lilian Harvey, Miriam Jordan. Helen Twelvetrees, 
Sari Maritza, Joan Crawford, Jean Harlow. 

One of Mary Lane's correspondents wrote to ask her whom 
Lilian Harvey considered the best dressed woman in Holly- 
wood and Miss Harvey names Kay Francis because: "She 
wears clothes that any lady could wear." 

"I don't feel qualified to say whom I consider the best- 
dressed woman in pictures," Miss Harvey goes on, "because 
I'm a comparative stranger in Hollywood. But I think Kay 
Francis in 'Trouble in Paradise' was the most gorgeously 
dressed woman I have ever seen. 

"Her clothes are never theatrical and are always in perfect 
taste. Any lady could wear Kay's clothes. She is never sen- 
sational in her clothes ; she never tries to be exotic. She 
wears her clothes beautifully and adds to her attractiveness 
by carrying herself well and not slouching as many tall girls 
do." 

"But I don't like it," says Miss Francis frankly, "I don't 
want to be known as a clothes horse. I want to be known as 
a good actress." 

But because we insisted. Miss Francis gave us ten rules 
that she follows when buying clothes — rules which she be- 
lieves will cover the problems of any woman in any profes- 
sion or walk of life. 




To help readers of the New Movie Maga- 
zine choose their autumn wardrobes, Mary 
Lane has obtained autumn color schemes 
shown in the new wardrobes of four differ- 
ent actresses of different types. This has 
been arranged in a circular which will 
tell you the smart colors and color schemes 
for street, sports, formal evening and in- 
formal evening wear. If you would like a 
copy of this circular please send your 
request to Mary Lane, enclosing a 
stamped, self-addressed envelope. 



MARY LANE 



The New Movie Magazine, January, 193i 



71 



«: ; 




HOLLYWOOD STYLE 



Rochelle Hudson gives us a glimpse of 

the smartly tailored lingerie she chooses 

■for daytime wear. 



72 



FOR 



YOU 



You can make the new lin- 
gerie designed in Hollywood 
with the aid of our New 
Method Circulars 



By FRANCES COWLES 



IT seems like a simple trick to design slips and step- 
ins, combinations and nightgowns in keeping with 
the prevailing mode. But actually it's not so easy, 
and nowhere are young women so exacting about 
the design of their underthings as in Filmland. They 
must provide a perfectly smooth foundation for the new 
form-revealing clothes, yet there must be nothing tight 
or uncomfortable about them. 

Strictly tailored lingerie should be worn with tailored 
or sports clothes while the more elaborate lace trimmed 
or finely embroidered garments may be worn with 
afternoon, evening and light summer dresses. 

Rochelle Hudson chooses strictly tailored things for 
daytime wear. They are made of the finest quality silk, 
but they are so simply designed that it's no trick at all 
to copy them. Hand-made French lingerie with just a 
bit of fine embroidery are chosen by other stars while 
for evening wear, lace is often used with a lavish hand. 

Lovely fine material can be had at moderate prices 
in soft shades of pink and blue or white if you wish. 
Why not start the New Year by replenishing your 
lingerie supply. You can make it yourself by hand 
or by machine in spare moments and it will have that 
individual touch that you do not find in ready-made 
lingerie. 

Our New Method Circulars this month give diagrams 
from which you can replenish your own supply of 
dainty lingerie. Here they are : 

Ja. 274. Hollywood combination made with a smoothly 

fitting top and side pleated lower portion. 
Ja. 275. Hollywood step-ins with side pleats to give 
smooth straight line at the hips. 

Ja. 276. The new nightgown 
with diagonal seams to 
^ give admirable waist- 

line slimness. 
■ Ja. 277. The new four-piece slip 
with diagonal seaming. 
Ja. 278. French panties with flat 
hipline — with directions 
for embroidery trim- 
ming. 
Ja. 279. A new style combina- 
tion that may be altered 
to suit the figure by 
means of the diagonal 
side seaming. 




To obtain diagram circulars 

please turn to page 

93. 



The New Movie Magazine, January, 193 b 




I'hotooiayliLd escluskelu lor The A't 



l/affd tm I'U Elnier Pryi 



Mary Astor seems to grow lovelier every day. Each new portrait endows her with 

added charm. You see her now as a new Warner star, lately in "The Kennel 

Murder Case," and last in "Convention City," in which she dairies with Adolphe 

Mcnjou, Joan Blondell and Dick Powell. 



The Neiv Movie Magazine, January, 19.34 



73 




Dorothy Short, M-G-M's newest discovery, 

with Maureen O'Sullivan. Her first picture 

will be "Tanan and His Mate." 

in Polly Ann's costume, the substitu- 
tion of Loretta was not noticed. It 
was Loretta's opportunity, and she rec- 
ognized it. Soon after that she was 
given a contract, left school and began 
her career as an actress. 

It was about this time that she went 
to see "Seventh Heaven." She saw her- 
self as a great star. The next day she 
rushed into Jack Warner's office. 

"I've found a director," she said 
breathlessly. "If you get Frank Bor- 
zage to direct me I'll be as good as 
Janet Gaynor." 

Recently — six years later — she 
worked under Prank Borzage's direc- 
tion for the first time in "A Man's 
Castle." 

Elevated to stardom during the past 
year, Loretta has, nevertheless, played 
several supporting roles recently. "It 
doesn't matter whether I'm the star 
or not," she explained. "All I want is 
good parts. And I'm not sure I want 
the responsibility of carrying a picture 
by myself." 

Sound logic, surely, and worthy of a 
person older than Loretta. But, at 
twenty, Loretta Young has an amazing 
maturity, as if she had seen all there 
is to see and done most of what there 
is to be done. Yet she has lost few of 
her illusions and she looks forward to 
the future with all the eagerness of a 
college girl. 

"I probably appreciate what life has 
to offer more than the average girl of 
my age," she said, "because I have the 
comparison with what it has already 
given me." 

WHAT life has given Loretta since 
the day she doubled for her sis- 
ter, Polly Ann, includes: one marriage, 
one divorce, a period of separation from 
the family that is a passion with her, 
featured roles and, finally, stardom. 
And, of course, there has been ro- 
mance in plenty. 

"I'd hate to live if I thought the 
future didn't hold lots of romance for 



Youth Looks Ahead 

(Continued from page 40) 

me," she said, frankly. "Some people 
think my unsuccessful marriage made 
me cynical. That isn't true. I want 
to keep my illusions. I don't want to 
become cynical, because I think it 
would show in my screen work, and it 
would make me an impossible person, 
too. My marriage gave me an ap- 
petite for the sort of beautiful romance 
that I know must exist. It didn't mar 
my illusions one bit. I realize that 
older persons have the idea that my 
marriage ruined my life. Mother says 
if I had been older I would have felt 
it more deeply — the failure of it, that 
is — and my life would have been per- 
manently affected." 

Loretta would have you think she 
wasn't deeply affected, but it isn't true, 
for though she was young at the time 
of her divorce — just eighteen — she was 
deeply hurt. It is a part of her gay, 
young courage to pretend a frivolity 
she doesn't really feel. She was sin- 
cerely in love, but aside from that 
fact, failure in anything is not a part 
of Loretta's scheme of things. When 
she found her marriage was a mis- 
take, she ended it by getting a di- 
vorce. She put the whole thing behind 
her and out of her mind as much as 
she was able. That's the way she 
does things — quickly. 

"One mistake doesn't fill a lifetime," 
she said, with an air of imparting 
something new. "And I'd hate to think 
my life wouldn't be as full as my 
mother's." 

Loretta looks toward her mother as 
the ancients looked toward the oracles. 
And, indeed, while Loretta is popular 
with the younger set and is continually 
being reported engaged to first this 
one and then another of the Hollywood 
swains, her real friends are mostly 
older people. That is, people much older 
than Loretta. 

"I like the companionship of older 
people because they talk sense to me. 
I learn from them. I know they have 
nothing to gain from me, so I am sure 
their friendship is sincere," she ex- 
plains. 

Loretta's adoration of her family 
isn't a wordy sort of affection that 
makes itself felt in compliments and 





Photo by Wide World 

Perhaps you've been wondering what hap- 
pened to Louise Brooks, one-time Paramount 
star, who disappeared into comparative 
oblivion when the talkies came. Here she is 
as the bride of Deering Davis, Chicago 
society man, aviator and polo star. 



Photo by Wide World 

In Detroit, the Scarab Club holds, annually, 
a "fake" art exhibition of take-offs on old 
masters. The portrait shown here is known 
as "Mona Beery," a burlesque of "Mona 
Lisa," the famous art classic. Its creator, 
Floyd Nixon, is shown beside his masterpiece. 

sweet nothings. She does things for 
them; for the two beautiful sisters, 
Polly Ann Young and Sally Blaine; 
for the brother, Jack, now in college, 
and the baby sister, Georgianna, who is 
too busy with her dolls to think of a 
career; for the mother who sacrificed 
her youth to them after they were de- 
serted by the father. Recently she 
built a fourteen-room, Colonial house 
for her family. The only thing she 
fears for the future, she says, is the 
loss of some member of the family. 

"I think I could bear almost any- 
thing but that," she said passionately. 
"I'd rather lose my stardom. No one 
knows what it has meant to me to have 
an understanding mother. I don't know 
what I would have done without her. 
She keeps my feet on the ground. 

"I'm not trying to give the impres- 
sion that I don't like the glory that 
comes with stardom. I love it! It 
pleases my ego. But I realize that 
I'm very young and that makes me 
reckless. That's what is so wonderful 
about being young. If I were older, I'd 
be afraid to be reckless. Youth makes 
me superior to older people. 

"The most important thing I have 
to look forward to now is my work, 
my new contract with Twentieth Cen- 
tury, which is for the next five years. 
After that I look forward to marrying 
again. But who can tell what may 
happen before that? I'm not in love 
with anyone now but I can't promise 
I won't be tomorrow. And if I should 
fall in love tomorrow, I would im- 
mediately give up my work. From my 
own experience and also from observa- 
tion, I do not think a girl can have a 
successful marriage and work at a 
career, too. Marriage, when and if 
I marry again, is going to mean more 
than that to me. 

"I want to make more money. When 
I was making fifty dollars a week I 
wanted two hundred. When I was 
making two hundred I wanted five 
hundred. Now I'm hoping for thou- 
sands. I want to be terribly rich so I 
can travel, educate myself, so I can 
have all the freedom and all the chil- 
dren I want!" 



74 



The Neiv Movie Magazine, January, 193U 



OVE^. 



3^ 



sar. 



Them 




77i<? Metropolitan Life Insurance Company has 
prepared a booklet called" Overweight and Under- 
weight" which tells you zvhat to do to overcome 
either condition. It shows a chart of aver agetveights. 
according to age and height, and tells you hozv to 
reduce sanely and safely. It contains food tables, 
menus and exercises to be used in reducing. You 
will find this booklet a valuable help. It will be 
mailed without cost at your request. 

METROPOLITAN LIFE INSURANCE COMPANY 
One Madison Avenue, New York. N.Y. Dept. i }4-B. 

Please send me, without cost or obligation, a copy of your 
booklet, "Overweight and Underweight." 



Overweight is Dangerous 



(It is sometimes extremely difficult to per' 
/ suade a jolly person who weighs many 
pounds too much — and who honestly says "I 
never felt better in my life" — that excess 
pounds are as dangerous as some of the dis- 
eases to which he would give immediate 
attention, if afflicted. £ 

Consider these figures, especially if you are 
more than 35: People past 45 who weigh 
20% more than the average have a death- 
rate greater by one half than the average I 
for their age. If they have a persistent J 
40 r ; overweight, the rate is almost double 
that of the average. 

As a simple cold may lead to pneumonia 
or to serious bronchial trouble, so excess 
weight may be a forerunner of high blood 
pressure, heart disease, diabetes, kidney 
trouble, hardening of the arteries, or 
apoplexy. It makes recovery from surgical 
operations and acute diseases more difficult. 

In rare instances, overweight is caused by 



VrlAT^. 




iBtf^TT 



disease of the glands of internal secretion, but 
in nearly every case it is brought on by eating 
too much food and exercising too little. 

You will not be uncomfortably hungry if you 
gradually change to foods which are bulkier 
and less fattening than the foods which have 
I brought the dangerous extra pounds. With 
a corrected diet and proper exercise, it is 
usually possible to reduce excess weight, 
comfortably, about a pound a week, until 
a reasonable reduction has been attained. 

g Do not attempt abrupt or too extensive 
reduction of weight. Beware of "reducing" 
medicines. Some of them would wreck a 
normal person's constitution, to say nothing 
of a fat person's. Before taking any drug in 
an attempt to reduce your weight, consult 
your own physician. 

If you weigh too much you should treat 
your overweight as you would a menacing 
disease. Give it immediate attention. Fill 
out and mail above coupon. 



Metropolitan Life Insurance Company 



Frederick H. Ecker, President 



One Madison Ave., New York. N. Y. 



The Netv Movie Magazine, January, 193i 



75 



Breakfast at Seven 



stop working because his star will have 
disappeared in the direction of the res- 
taurant by twelve-fifteen. And when it 
is quitting time at night Mr. Rogers 
simply asks, as he walks toward the 
exit: "What time tomorrow?" At lunch, 
in the studio cafe, he always grabs all 
the lunch checks. He usually lunches 
with men. 

Doug Fairbanks is nearly always up 
at five o'clock in the morning and by 
six has read the papers. He breakfasts 
not later than seven and reads every- 
thing in sight before, during and after 
his meal. 

Miriam Jordan always has her break- 
fast of fruit juice, toast and coffee at 
seven. If you wish to reach her by 
telephone you must call her before 
eight-thirty because she always gets 
out of the house by that time and some- 
times before that time. 

When Mary Pickford is working in a 
picture she has three meals a day at 
the studio in her bungalow. She has 
breakfast at seven and at eight she 
consults her press agent and others on 
business while she is being made up. 
She usually invites her director or 
some of the company to lunch with her 
at noon, usually one o'clock, and then 
works steadily all afternoon. If there 
are children or a lot of extras working, 
the California laws stop work after an 
eight hour day, but by the time Mary 
is ready to stop, has looked at the pre- 
vious days' rushes and is ready for her 
dinner it is at least eight o'clock. And 
she has guests and talks business dur- 
ing her dinner, and often long after 
dinner. 

When Mary is not working she has 
her breakfast about nine o'clock. Some 
actors say that the habit of getting up 
early to go to work is one that they 
can't get rid of when they aren't work- 
ings. Others say they are so tired of 
getting up early to go to work that 
they are glad to sleep late when they 
have an opportunity and take full ad- 
vantage of it until they start work on 
a new picture. 

George Arliss always rises at six 
o'clock, has his breakfast, reads the 
papers and his mail and takes a long 
walk before going to the studio to 
work. He eats a light lunch, tea and 
pound cake at four and dinner at seven. 

Work never interferes with Mr. 
Arliss's afternoon tea. When he first 
came to Hollywood his directors ob- 
jected. "It is all nonsense," they said. 
"Stopping work in the middle of the 
afternoon so an old man can have his 
tea!" But they objected and snorted in 
vain. Mr. Arliss had his tea regardless 
and it wasn't very long until the di- 
rectors were saying that it was a good 
idea, resting for a few minutes; that it 
pepped them up for the rest of the day. 
So Mr. Arliss can be credited with 
starting a new custom in the studios. 

Gary Cooper doesn't feel hurt when 
he has to eat his breakfast alone. He 
is very resourceful and doesn't feel it 
is necessary to have company at every 
meal. He reads everything and thinks 
a lot. When working in a picture he 
has lunch at the studio cafe, talks to 
everyone and usually sits with a group 
of five or six men who are working on 
a picture with him. He often takes the 
director or a script writer home with 
him for a quiet dinner and entertains 
about twice a week with a small group 
of friends. His guests are asked for 



76 



(Continued from page 58) 

eight o'clock, which is his usual hour. 
Elissa Landi likes to eat outdoors and 
whenever possible has her meals 
served on the veranda or in the patio 
of her beautiful Brentwood home. One 
of her favorite desserts is hot apple 
dumpling and coffee. Elissa is one 




English girl who isn't addicted to the 
afternoon tea habit. Her dinner hour 
is seven. 

Ken Maynard never eats lunch when 
he is working in a picture, but be- 
tween pictures he goes on picnics with 
his wife, eats three squares a day and 
even has tea with her sometimes. 

The Ralph Morgans, New York stage 
folk, have adopted the elastic dinner 
hours of Hollywood. They set dinner 
for seven-fifteen and get to it as near 
that time as possible. Mr. Morgan and 
his daughter, Claudia, are tennis ad- 
dicts and usually serve tea to a four- 
some in the late afternoon which is 
very refreshing after several strenuous 
sets. 

Claudette Colbert likes an early din- 
ner whether she is working or not. 
She likes French cooking, of course, 
and always has breakfast in bed when 
she is not working. She eats a light 
lunch, tea in the afternoon and a sub- 
stantial dinner. 

Marlene Dietrich, a. true Continental, 
enjoys food and makes a ceremony of 
a meal. Her afternoon tea is coffee. 
She brought her cook with her from 
Germany and is very proud of the 
pastries made in her own kitchen. 
"You'll not get these anywhere else, 
I'm sure," she said to me when she 
offered me a very special German pas- 
try one afternoon at her home. It re- 
sembled a date tart with whipped 
cream on it. When she serves tea to 
guests there is a decanter of rum on 
the tea tray and if the guests wish, she 
adds a little rum to each cup of tea. 

Lilian Harvey never stops eating, 
or so it seems to her friends. When she 
is not working she has breakfast in 
bed after sleeping late. But when she 
is working she has a well-developed ap- 
petite by noon which she doesn't mind 
appeasing. She eats anything she likes 
and as much of it as she likes. When 
I had lunch with her one day she fin- 
ished her dessert, a deep dish apple pie 
with ice cream on top, and said: "I 
think I'll have another one just like it. 
Will you have another?" When she 
finished her second dessert she said, 
"Now, I feel fine." She is so active 
that she keeps her slender figure re- 
gardless of how much or what she eats. 
She does not drink. 

If you want to reach Regis Toomey 
at dinner time, it will do you no good 
to call him then. The Toomeys eat at 
seven o'clock but the servants have 
been trained to say that Mr. Toomey is 
at dinner and cannot be disturbed. 

The only time I ever lunched with 
Paul Muni he asked the waitress to 
bring him a bowl of sour cream, a dill 
pickle and some fresh radishes and 
green onions. He cut the pickle, rad- 
ishes and onions up fine, added them to 
the cream and ate the mixture with 
great gusto. I was so fascinated that 
I couldn't say whether he ate anything 
else or not. 



To obtain this month's food circulars 
please turn to page 92. 



PTioto ly Alex Kahle 



(Left) Ralph Bellamy at the door of his new 

home, built on the California hacienda style. 

The doorway in which he stands opens on a 

large patio. 



The Neio Movie Magazine, January, 1934 



lo avoid Wrinkles treat your Under Skin 



When Dryness bothers 
treat your Outer Skin 



OUTER SKIN 

«hl<h rouillu-ns 
and drle*. If un- 
protected from 
Min. v* liul. cold 
WMther, over- 
li ii. ,1 houses, 
make-up — which 
Mod i" dry out Its 
natural moisture* 




UNDER SKIN 

which shrinks 
when tiny Clauds 

fall, thereby 
causing the outer 
skin to form folds 
and wrinkles. 
Here you help 
these Alands to 
work properly. 



\ \ T ll VT wrinkles? 

VV "\\" 1 1 ;i t catwn dryness ? 
Sinee Eve, women have 
dreaded these two greatest 
enemies to skin, loveliness 
. . . charm . . . Romance! 

Today we know the an- 
swer i" these "1.1 riddles. 

How Wrinkles Come! 

There are two layers of skin. 
I- :cli in) ir: I •, different. 
Both smoothly fitting in 
youth as the skin ami flesh 
of a firm ripening plum. 

U lit the under skin soon 
loses that glorious firmness 
. . . Shrinks, as its own 
beauty oils fail. The Outer 
Skin falls into folds. Little 
lines form. Eventually, 
dreaded wrinkles! 

Pond's Cold Cream is 
made to help you avoid 
these very troubles. It is 

rich in oils. And it pene- 
trates all the way to the 
iimlrr .thin. Brings it just 
the oils it needs to keep it 
firm and full. When you 
use this lovely satiny cream, 



your skin feels rejuvenated 
— to its very depth— tn- 
Stanilyl Because it goes so 
deep. IVmd's Cold Cream is 
the thoroughest cleanser as 
well as beauty builder. 

How to Correct Dryness 

But Dryness occurs in the 
Outer Skin! That thin layer 
of skin that has to with- 
stand sun, wind, cold, the 
dry heat of modern houses. 
When the moisture cells 
in this fine skin are dried 
out by exposure, it becomes 
harsh, chaps. 

Try Pond's Vanishing 
Cream to correct this 
trouble. This fragrant, fluffy 

cream is made especially for 
the Outer Skin. It contains 
a very marvelous substance 
that prevents loss of skin 
moisture — actually restores 
it, and smooths away rough- 
nesses in one application! 

Pond's Vanishing Cream 
is famous also as a powder 
base. It takes your make- 
up beautifully, and holds it 
for hours. 




The TWO-SKIN 
TREATMENT society 
women use as told by 

MRS. THOMAS 

CARNEGIE, JR. 



1 "At night I cream face and neck with Pond's Cold ( 'ream, 
then remove it and the day's dirt with Pond's Tissues. A 

second cleansing tones my skin deep down. 

2 "Next, Pond's Vanishing Cream for my overnight cream 
— so much heller llwin .sticky creams. It takes away rough- 
nesses, dryness . . . and it's so delicious to use! 

3 "In the morning, and in the day, Pond's Cold Cream 

again. Then Vanishing Cream to prepare for make-up and 
prevent chapping or drying. This 2-cream treatment keeps 
my skin feeling alive and glowing." 




OUTER SKIN 



DRYNESS STARTS 



Mrs. George Gra?it Mason, Jr. 
Society beauty, cares for her exquisite blonde 
skin the Pond's way . . . Pond's Cold Cream for her 
Under Skin, Pond's Vanishing Cream for her Outer Skin. 




MAIL 
COUPON 

AND 

SEE FOR 

YOURSELF 



Tunc in on the Pond's Players Fridays, 9:30 P. M., E. S. T. WEAF and NBC Network 



Pond's Extract Co., Dept. A. 187 Hudson St.. N.« V,.rk City 
I enclose lOe (to cover postage and packing) for samples of Pond's 
Two Creams and six shades of Pond's new Face Powder. 



Strcol 
City_ 



-Stale. 



w 



lopyrigut, 1033, Pond's Extract Company 



The New Movie Magazine, January, 193b 



77 



Meet the Puppets 



(Continued from page 31) 



Earl Blackwell, Richard Cromwell, 
Violet and Helen Axzelle, Henry Wads- 
worth, Virginia Howard (Sam Gold- 
wyn's sister-in-law), Bob Horner, Tex 
Brodus, Frank Losee, Marion Lessing, 
Kathryn Lee and Jimmy Bush were 
taken into the club. Soon after that 
Mary Kornman, Jacqueline Wells and I 
were also made Puppets. 

A day was set aside to go house hunt- 
ing. All twenty-two of us packed in 
cars and scoured Hollywood. We found 
a house in Laurel Canyon, and signed 
a lease. But the girls' mothers decided 
it was too dangerous a place to l'each 
at night in cars — so that was out. But 
another twenty-four hours found the 
Puppets delighted with a little one- 
story, five-room dwelling on Beechwood 
Drive — two blocks from Hollywood 
Boulevard. 

Then the fun began. 

"Now that we have the house, what 
will we use for furniture?" asked Billy 
Janney. 

"Well, we could always buy some — if 
we knew what they were using for 
money," wisecracked Ben Alexander. 

"Listen, kids," suggested Tom. "Let's 
all go home and see what we can dig 
out of the cellar and attic. Any old 
stuff. Tell your families it's just to 
get started." 

"Very good idea. We have an old 
bedroom chair," shouted Grace D'urkin. 

"I think I know where there's a dis- 
carded day bed," yelled Pat Ziegfeld. 
"And we have an old couch that the 
bottom's falling out of," said Patricia 
Ellis. "And we . . . ." 

THEY'RE off! 
Two hours later saw the great- 
est collection of odd-looking furniture 
that anyone ever hoped to see. But the 
Puppets were thrilled to death and said 
they'd be all fixed up in no time. One 
look at the potpourri of odds and ends 
made one wonder. There were no cur- 
tains on the windows, and the glass 
was filthy; the floors were dirty and 
scratched; the wall paper in one room 
was badly marred; and the back yard, 
though spacious, looked like a weed 
patch. 

"Well, it's a cute little place," re- 
marked Mrs. Ziegfeld (Billie Burke). 
"It will do for a while, anyway, until 
you get some money in the treasury." 

"Tomorrow morning we'll all meet 
here," cried Junior Durkin, "and start 
to work." 

It was that very next day that 
brought the surprise of a lifetime to 
the movie colony. And each day since 
the wonderment has increased to higher 
and higher degrees of amazement. If 
anyone had predicted that a group of 
young fellows and girls who have spent 
all their lives on the stage and screen 
— lived in hotels, and been waited on 
hand and foot — could do the work that 
they did, we would have laughed and 
said it was absolutely impossible. 

Ten o'clock Tuesday morning — the 
sun was shining, as usual, in Holly- 
wood; the stores opened at the regular 
hour; the studios were operating on 
schedule; even the banks were open — 
but 2107 Beechwood Drive, now known 
as the Puppets Club, was in a state of 
excitement and merriment that the 
little ramshackle wooden dwelling never 
dreamed it would see. 




Lupe Velez flirting with the statue — or is 
it? — of Jimmy Durante, which plays such a 
prominent part in "Hollywood Party." Don't 
fail to read Lupe's own account of her 
"Jeemy" in an early issue of this magazine. 



Walking in the front door, we found 
Junior Durkin and Maurice Murphy in 
old corduroys, scrubbing the floor; Tex 
Brodus and Pat Ziegfeld, tearing off 
the old wall paper in one of the back 
rooms; while Ben Alexander put up the 
new white paper, and Billy Janney 
and Earl Blackwell painted floors. Bob 
Horner was covering furniture in the 
front room; Patricia Ellis and Gertrude 
Durkin scrubbed the sink. We found 
Grace Durkin standing in the bath-tub, 
washing the windows. 

FOR days this kept up. Jimmy 
Bush became chief gardener, as- 
sisted by Tom Brown, and with some 
of the other fellows, they weeded the 
field, cut out paths, lined them with 
rocks, trimmed the arbor, transplanted 
flowers, watered the grass and made a 
beautiful outlook. 

The boys decided the back room 
would be their room. Bob Horner con- 
ceived the clever idea of covering the 
old furniture, including that bedroom 
chair and Ziegfeld's old couch, with 
black oilcloth. White thumb-tacks, ar- 
ranged in neat array, lined the edges 
of the pieces and held the pleated 
oilcloth in place. Pillows were covered 
to match, and the floor painted black; 
while Tom, Ben and Junior painted the 
woodwork an ivory white. It is now 
known, ladies and gentlemen, as "The 
Black and White Room." And take my 
word for it, it is really striking. A 
black and white mirror and black tables 
were donated, to complete the picture. 

"Say, the boys have everything! 
We've got to fix up a room," decided 
Helen Mack and some of the other girls. 
They would not be outdone. So, while 
one of the fellows got a couple of old 
orange crates, Pat Ziegfeld, Grace 
Durkin and the Axzelles located some 
cretonne, and the results are two at- 
tractive dressing tables on each side of 
the full-length mirror in the little side 
room. Cretonne draperies and a day- 
bed covered with the same material, to 
match, go to make up what is now 
known as "The Girls' Room." 

Directly behind the living room 
which you enter first from the street, 



is a mahogany-paneled room which 
has been converted into an office. 
A desk, telephone and chair constitute 
the furniture, and the walls are deco- 
rated with pictures of the Puppets. 

Joe DePew decided they'd have to 
have a bar. Of course, the by-laws de- 
clare there's to be no drinking (and 
most of the Puppets don't smoke or 
drink, anyway), but, still, they could 
have a bar, plus all the effects, and 
serve soft drinks and beer to their 
guests. So Joe as chief bartender, and 
with the help of the other male mem- 
bers, took over the two-car garage, and 
converted it into the cleverest old-time 
Western saloon you ever saw. 

Although the walls are of wood, the 
floor is cement, which didn't go at all 
with a saloon. Hence, three barrels of 
sawdust were purchased from the near- 
est mill, to give the room that old-time 
flavoi - . 

The boys bought a little lumber and 
went to work making a bar and tables, 
while the girls sewed together red-and- 
white checked gingham curtains and 
tablecloths for the saloon. 

We got all the empty liquor bottles 
we could find (quite a job around Holly- 
wood) to decorate the rustic shelves 
behind the bar and give the saloon that 
realistic touch. When you visit the 
Puppets Club, I'll guarantee you'll be 
rushed, first to the great Black and 
White Room, then out to the saloon. 
They are exhibits "A" and "B," and 
let me assure you, they are all, and 
even more, than the proud Puppets 
crack them up to be. 

GERTIE DURKIN appointed her. 
self chief cook and waitress, and 
all during the "reconstruction" days, 
she made sandwiches and coffee on the 
little two-burner stove, and carried 
lunches to the other boys and girls at 
work. 

A few months have elapsed. Now 
they have decided to build a small prac- 
tice stage in the back of the "garage- 
saloon." More decorations have ar- 
rived for the house, including two 
beautiful new rugs, given to the Pup- 
pets by their good pal, Robert Arm- 
strong. Marion Gehring is donating 
some end tables, and Mrs. Alexander 
Leftwich has promised them a grand 
piano. Mrs. Fremault, Anita Louise's 
mother, presented the club with a com- 
plete set of china. 

The Puppets are at home to their 
friends every afternoon and evening. 
Tea is served at five o'clock in the 
beautiful garden under the arbor. 
Dancing by radio, every evening in the 
saloon; or a good game of limericks 
in the living room until eleven o'clock. 
At that hour Gertie comes in with her 
beautiful big smile, a coffee pot in one 
hand, and a plate of sandwiches in the 
other. "Come, darlings, supper is 
served." And, boy! is it good! 

The Puppets are the grandest bunch 
of young people I have ever seen. Good 
natured, talented and hard workers — 
these same moving picture people who 
you and I thought could do nothing but 
pose before cameras all day; and at 
night go to the wildest parties they 
could find ! Now you know them better. 

Hollywood's younger generation is 
the town's back-bone. Watch them 
make good! 



78 



The New Movie Magazine, January, 193 4 



"It cl 



eared her (complexion 

|y^ surpmmg/f 

quickly" 




says the noted 
DR. LEON HUFNAGEL, 

Paris Dermatologist 

One of the best known skin special- 
ists in France, Dr. Hufnagel, co- 
author of the famous "TraitS de 
Dermatologie," describes this typi- 
cal case: — 

"Mlle. D— typist. Persist- 
ent furunculosis (boils) and pim- 
ples on face and neck. Complexion 
muddy. Complained of headaches. 

"Patient had been subject for 
years to constipation. X-rays 
showed intestines weakened by 
laxatives. I prescribed yeast. 

"In 3 weeks her evacuations be- 
came normal. Her skin eruptions 
dried up and no others appeared. 
Her headaches disappeared and 
her digestion greatly improved." 



"nrr 



THANK GOODNESS SCHOOL IS OUT 
FOR AN0TUEP. DAY/TU05E CUILDREN 
WOULD TIRE ANYBODY. ..J 



A POOR COMPLEXION " states 
Dr. Hufnagel, "is usually a sign 
of poisons in the system, txterna 
treatment, therefore, is not enough. 
[ advise people suffering from con- 
stipation and skin affections to add yeast 
to their diet. // is the surest corrective 
for skin eruptions that I know. " 

Eaten daily, Fleischmann's Yeast 
actually strengthens the intestines — 
softens the clogging food residues — 
promotes the daily evacuation of 
bodily waste that is so essential to a 
clear skin and abundant energy. 

Just eat 3 cakes of Fleischmann's 
Yeast daily — before meals, or between 
meals and at bedtime — plain or dis- 
solved in a third of a glass of water. 

You can get Fleischmann's 
Yeast (rich in vitamins B, G 
and D) at grocers, restaurants, 
soda fountains. Try it — now! 

Copyright, 1933. Standard Brands Incorporated 



• "I am a teacher," writes Miss O'Brien. "I'd be- 
come run-down — hadindl£cstlon. Feitmlscrable... 



• "Then my face betlan to breakout in eruptions 
I was horrified. I worried about it terribly . . . 



THIS X-RAY CONFIRMS MY DIAGNOSIS. POISONS FROM 
WASTE MATTER IN YOUR INTESTINES ARE CAUSING 
YOUR INDIGESTION ANO SKIN TR0U8LE.Y0U SUOUL 
EAT FLEISCHMANN'S YEAST DAILY 




(\ UAVENT GONE TO A DANCE InI 
AGES I FELT 50 BAD AND WAS J 
SO ASHAMED OF 

HUE WAY I LOOKED. 



T BE ANY MORE 
VE NEVER SEEN SUCM 
A LOVELY SKIN AS YOU UAVE 
NOW.' AND YOU'RE SO FULL OF 
PEP AGAIN. TOO. TUOSE 
DOCTORS MUST BE RIGHT 
T YEAST.' 



V\ ^ 




• "Sol went to my doctor. He advised 
I-'lcbchmann's Yeast. I ate it faithfully. 



# "Very soon my health improved. Indigestion 
left and my .skin cleared up. It was wonderful!" 



The New Movie Magazine, January, 1984 



79 



Speaking of Money 



(Continued from 
page 43) 



absurd topsyturviness of movie re- 
wards: A person with trained voice 
sings into the mike while a player 
on screen wags lips like a ventrilo- 
quist's dummy — and the dummy gets 
the dough! 



of 



dreamy 



STAR impressions 
boulevardier : 
Cecil DeMille — circus wagon; Mary 
Pickford — little white hen; Pola Negri 
— stormy weather; Johnny Weissmuller 
— battle cruiser; Myrna Loy — new 
moon in a mirror; Greta Garbo — grey- 
hound; ZaSu Pitts — long underwear on 
a line; Charles Laughton — cup cus- 
tard; Jean Harlow — Angora that's 
eaten a mouse; Lubitsch — sausages 
mitt Brahms; Carole Lombard — white 
candle unlighted; Lilyan Tashman — 
May basket full of jellybeans; James 
Cagney — firecrackers; Ramon Novarro 
— organ grinder's monk; Mae West — 
apple dumplin's with brandy sauce. . . . 




Andy Devine, photographed to show the 
world that he has lost ten pounds. Horse- 
back riding. They've retired the horse. , . , 



80 



HOLLYWOOD is getting danger- 
ously biographical. It is not only 
dishing such cold royal remains as 
Napoleon, Marie Antoinette, Queen 
Christina and Empress Catherine, but 
live warm fellow citizens. "Bombshell" 
was inspired by a local star. 

If this keeps up they'll be taking 
one another for rides. A plastic surgeon 
agrees with me. He told an inter- 
viewer about fixing a star's ears. The 
star made threats. Surgeon laughed. 
Later a gangster telephoned: "I see 
you squealed about What's-his-name's 
ears. Lissen, if I catch you ratting 
about my face-lift you'll go for a picnic 
up a canyon." Map-maker no laughee, 
no talkie. 

Boulevardier goes biographical: 

JUDY of Ottawa writes to ask: "Just 
how does one go about getting into 
your type of livelihood?" 

Why, what do you mean, Judy! Aunt 
Bella advises me not to answer as it 
might be incriminating. I will say 
that after the first misstep, it's easy. 
A boulevardier, literally, is a boule- 
vard walker. Of course, that's not 
what you had in mind. You say 
you're red-headed, and red-headed 
women always ride, as you know if you 
saw Miss Harlow in that epic with 
car and companionate chauffeur. 

A fan writer never makes that much. 
In fact we're about the only people 
in Hollywood who do not make more 
than the President; this tends to make 
us ugly. 

On the other hand, we are practically 
fed free. A fan writer is a sort of 
gigolo of journalism — always lets the 
other party pay the check. No sneers, 
puleeze! After all, Adam was a gigolo. 
Eve had to give him an apple first, 
didn't she? 

Following this tradition, interviewers 
insist on being lunched. There are over 
two hundred and fifty munching off 
Hollywood. Practically all pretend to 
be bosom pals of the stars, whereas, 
actually, the stars consider them a 
confounded nuisance. Oh, exceptions, 
of course, though the only one I can 
think of offhand is Elsie Janis, who 
happens to be a great star herself and 
the most charming interviewer. So, 
Judy, why don't you write Elsie? 

DO I enjoy interviewing? You ask. 
Yes, but not writing afterward. 
The most interesting players I have 
interviewed? You mean those who have 
made the best copy? Mae West, Anna 
May Wong, Valentino, Stepin Fetchit, 
Nazimova, Bull Montana, Pola Negri. 
. . . Then there are those I like per- 
sonally who don't seem to jell into copy 
— too regular. 

BOMBSHELL" seemed to me a 
boring exaggeration. Everyone 
over-acted except Pat O'Brien. 

I have never met a star as nutty as 
Miss Harlow was made to appear. In 
fact, I have never interviewed one 
who was ritzy, disagreeable or posey. 

I can't say as much for the fellow 
fan writers. Some of them have the 
superiority complex, the old power-of- 
the-press feeling abetted by envy. 

One "exposed" Ivan Lebedeff. She 
said he was not a Russian nobleman, 




These modest producers! This is Harry Cohn, 
head of Columbia studios, going out to 
luncheon with Evelyn Brent, and trying to give 
the go-away sign to the candid cameraman. 



but a boy who had gone to school back 
in Massachusetts or somewhere. Mr. 
Lebedeff produced credentials to prove 
his nobility and proved it further, to 
the relief of the newspaper, by not 
suing for libel. 

DRODUCERS have been lambasted 
A for stealing stories and abusing 
literary genius. There is another side 
to the picture. The Motion Picture 
Academy of Arts and Sciences award- 
ed a prize to a writer for the most 
original story of the year and the 
next day he was sued for plagiarism! 

A STUDIO staff writer appropriated 
a published story without taking 
the trouble even to change the title. 
And the authoress was an actress on 
the lot! She complained to the pro- 
ducer. He heard her case and said : 
"How much do you want?" She timidly 
suggested ten thousand. He wrote a 
check for fifteen thousand. When she 
said that she did not mean to take ad- 
vantage, he replied: "Don't worry. It 
will come out of our genius' pocket. 
This is not the first time that writer 
has played pirate." 

Publicity item: "Miss West dic- 
tates her stories to a secretary 
lying in bed." 

Any room for another secretary, 
Miss West? 



The New Movie Magazine, January, 19 3 i 



u ctVtf CtHTS fOR TINTflf 

P Vl .\)OtS WONDERS/" 



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tf 



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I 



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• 
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• 
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ght or dark. 



The Nov Mode Magazine, January, 193U 



SI 



Men I Have Loved 



(Continued from page 28) 




Educational studios are making a series of one-reel comedies, called Baby Burlesks. This 

is the cast. Every so often it is bribed into further histrionics with ice-cream cones. None of 

the actors is more than five years old. 



like Spencer, slow and easy-going but, 
once aroused, a dynamo of determina- 
tion. Spencer didn't take himself seri- 
ously, however. He laughed about his 
activities, about being a "moom pitcher" 
actor, but he loved his work. There 
was a genial, friendly heartiness about 
Spencer which would win any girl's 
heart. 

No story of my life would be com- 
plete without mention of Bob Williams, 
who has gone forever from the screen 
and from life. I had heard a great deal 
about his successes on the New York 
stage and when I was given the leading 
role opposite him in "Platinum Blonde," 
I was excited, of course, and more than 
a little scared. 

The excitement lasted but the fright 
died as soon as I met him. Bob Wil- 
liams was the personification of every 
girl's dream of the suave, quiet, sure- 
of-himself lover, who had been every- 
where and has seen everything. He 
was the sort of man from whom every 
girl wants to learn about life and love. 
He didn't tell you what he knew. He 
didn't have to. You felt it instinctive- 
ly. What I learned from him was a 
sort of post-graduate course in the art 
of romance. 

A SHORT time later I had the unique 
experience of having three lovers 
at once. I've heard girls boast about 
being engaged to two or three men at 
one time, but I'll bet that none of them 
ever had three such lovers as I had in 
"The Secret Six," big, handsome 
Johnny Mack Brown, big, handsome 
Clark Gable and Wally Beery, whom 
all superlatives fail to describe. 

It was my first visit to the Metro- 
Goldwyn-Mayer studio and I was ner- 
vous about it. So I found a kindred 
spirit in Clark. He was just beginning 
his screen career and was almost as 
nervous as I was. 



82 



Johnny was a veteran of the studio 
and of pictures. Wally was — well, you 
know as well as I do, what he was and 
is. Clark joked with me to cover both 
our frights. 

JOHNNY was always sweet and cour- 
teous and I made conversation with 
him whenever possible just to hear his 
slow, low, southern drawl. Wally was 
completely indifferent to me. He pre- 
ferred whittling little pieces of wood 
and talking to the director, George Hill, 
about hunting and fishing to conversa- 
tion with frightened blondes. When I 
worked with Wally recently in "Dinner 
At Eight," I reminded him of his indif- 
ference during "The Secret Six." He 
didn't apologize and he didn't change 
his attitude. Wally is wise in the ways 
of the world and women. He probably 
knows that indifference piques feminine 
interest. 

Johnny had that same charming lack 
of interest. But his was more a casual 
detachment than Wally's indifference. 
Johnny has that touch of gallant chiv- 
alry, which gentlemen of the old South 
are reputed to possess and which they 
rarely do, at least, to the extent that 
fiction writers give them credit. 

Even, when he made love to me across 
a counter in a cabaret scene filled 
with extras and cigarette smoke, he 
seemed to bring an aura of moonlight 
and flowering jasmine. Maybe it was 
the caressing tone of his voice. Maybe 
it was the look in his dark brown eyes. 

Johnny was worried about his south- 
ern drawl, was trying desperately to 
lose it. Heaven forbid that he ever 
shall. No girl can listen to his soft 
"you-alls" and "fohevahs" without feel- 
ing a flutter in the region of her heart. 

Clark was entirely different from the 
seriously sweet Johnny and the tanta- 
lizing Mr. Beery. He was like a boy, 
laughing, joking, making a frolic of 



his work. Neither of us dreamed at 
that time that some day we would be 
playing together in "Red Dust" and 
"Hold Your Man." Clark didn't be- 
lieve that his popularity would reach 
the amazing extent which it has. 

And I thought that my career was al- 
most at an end. I was discouraged 
about the parts which I was playing. 
I wanted to do something beside tough 
girls and gangsters' molls. I knew 
that you could go only so far — that 
your stay was bound to be short — if you 
continued in that one type of part. 
Your day would die with the death of 
the gangster era in pictures. 

Clark was happy in "The Secret Six" 
because he was playing a straight and 
honest young newspaper reporter after 
a series of gangster roles. His love- 
making in those days — as later in the 
other two pictures— was more or less 
of the slightly laughing, non-serious 
variety. He was the kind of lover of 
whom no girl can ever be sure. He was 
the deadly "take 'em and leave 'em" 
variety. Women in the audiences felt 
it, just as I did, playing with him. 
Any girl with a Clark Gable lover can 
never know exactly where she stands. 
Even in his most ardent moments, you 
would feel the qualm of knowing that 
it couldn't last. I did. 

Clark's first words to me I'll never 
forget. "You're not at all the kind of 
girl I had imagined," he told me, after 
we were introduced. 

"That's just the reason I'm so anx- 
ious to get away from this kind of 
role," I explained to him later. "No 
one sees Jean Harlow. They simply 
see a hard-boiled, worthless girl who 
isn't even likeable in her toughness." 

Clark has a philosophy all his own. 
He doesn't take himself or his work or 
even life seriously. 

"Things have a way of working out," 
he told me. "Look at me, for instance. 
A few years ago I thought that there 
would never be a place for me in pic- 
tures. And now, without any warn- 
ing, I get a contract and one good part 
after another. It'll turn out that way 
for you. Wait and see." 

AND Clark was right. A few months 
l later, when I did leave Hollywood 
for a personal appearance tour, expect- 
(Please turn to page 84) 




"Author! Author!" — this was once the cry. 
Now it is, "Director! Author!" William 
Slavens McNutt and Grover Jones (shown 
here with Judith Allen), after writing and 
doctoring many of Paramount's greatest suc- 
cesses in the last few years, have taken over 
the megaphone, too. Their first film is 
"Cap'n Jericho." 



The New Movie Magazine, January, 193U 




IECITE* of ike 
MONTH 



v Start a Library ♦ ♦ ♦ of 
Favorite Recipes ♦ and 
Add to it Each Month 



Start this library of favorite recipes and we'll wager that ( I Oc complete) is the same size so you can fit them all 

you'll never get a meal without using it . . . because they in one big binder. Then each month the Home Service 

cover all different types of cooking, give excellent menus, Bureau will announce a new food circular in this magazine, 

exciting recipes and food news. Each food circular You'll want it for your library. 



1 BREAD AND CEREAL DISHES— 10c 

Muffins and breakfast breads . . . macaroni and spa- 
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2 MENUS FOR TWO— 10c 

Well-balanced menus and appetizing recipes that sim- 
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3 FOODS THAT MEN PREFER— I Oc 

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vegetables . . . pies and pastries . . . puddings and 
simple desserts . . . cakes 



confections . . . menus. 



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Rita Calhoun, Tower Magazines, Inc. 
55 Fifth Avenue, New York, N. Y. 



Check the Numbers 

Below, Detach and 

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10 REFRESHMENT MENUS— 10c 

Menus and recipes for one and two- 
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I am checking here the numbers of the food circulars listed above which I 
wish you would please send me. I am enclosing 10c for each one I want. 

D-l D-2 D-3 D-4 D-5 D-6 D-7 D-8 D-9 n-io 



Name. . 
Address. 
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State 



The Neiv Movie Magazine, January, 1984 



S3 



Milli 






ions 

nave made a 

pleasant 
discovery! 



MILLIONS of families have 
made a pleasant discovery! 
They have found that a delicious 
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Brooklyn, New York. &£? 



EX- LAX 

THE CHOCOLATED LAXATIVE 



Men I Have Loved 



(Continued from page 82) 



ing never to return to the screen, I was 
given my big chance in "Red Headed 
Woman." The girl in that picture was 
tough, of course, and entirely heartless, 
but she had the relieving quality of 
humor, the saving grace which made 
audiences laugh at her and like her in 
spite of her faults. 

There is something of the eternal boy 
about Clark. He will never grow up. 
Not that he doesn't have his serious 
moments. He does. He has the ability 
of veiling lightness with a veneer of 
ardent intensity in his love-making, 
that most provoking and provocative of 
methods. 

After my trio of lovers, Clark, 
Johnny and Wally, had gone on to other 
fields of romantic adventure, I met 
Walter Byron and played with him in 
"Three Wise Girls." You can imagine 
the contrast. Smooth, poised, polished 
and English Walter after the other 
three so essentially American lovers. 
Walter had the continental flair, the 
slightly bored, man-of-the-worldishness 
which every woman finds so attractive. 
His love-making was never direct or 
blunt, but always veiled with a sub- 
tle language of eyes and unspoken 
words. 

AFTER Walter came Wally Ford, 
- gay, laughing, clowning, intense 
Wally. That was in "The Beast of the 
City." Never have I known such a con- 
tradictory personality as Wally. He is 
the eternal comedian, always smiling, 
always clowning. And he is also so 
dynamically intense, that he sweeps you 
off your feet. 

With a lover like Wally, no girl's 
life would be peaceful. She would 
live in a constant bewilderment, won- 
dering what in the world was going to 
happen next. Wally would stop his 
joking with the members of the com- 
pany to walk into a dramatic scene. In- 
stantly his entire personality would 
change. Working with him, you could 
feel a sort of electric current of vital- 
ity. His love-making was the breath- 
taking, almost belligerent sort. And 
then, the kiss ended, he could laugh 
about some amusing incident at yes- 
terday's ball game. He was certainly 
the most bewildering lover I've known. 

Chester Morris had that same inten- 
sity, without the clowning. I met 
Chester during the making of "Red 
Headed Woman." I couldn't have 
known him at a more nerve-wracking, 
upsetting time in my life. Here was 
my really big chance. My whole future 
hung in the balance on the success or 
failure of my work in that picture. 
Chester understood. He always knew 
just when to say the right words of 
praise and encouragement. 

CHESTER seemed to me the epitome 
of the true American lover, sincere, 
serious and considerate. If I were writ- 
ing a fiction story and I wanted to de- 
scribe the average girl's idea of a perfect 
lover, I think that I should try to pic- 
ture Chester. He was honest, straight- 
forward and direct, the sort of man on 
whom a girl could depend. He was the 
strong protector as well as the ardent 
lover. 

In the picture he had to hit me — and 
hit me hard. Chester didn't want to 
do it. He had the normal young Ameri- 
can's dislike of physical violence 
against a woman. He tried to think of 



a substitute scene. But the director 
insisted. His first slaps were so weak 
and unsure that we had to retake the 
scene several times. Finally, when he 
did make up his mind to slap, his punch 
was as strong as any delivered by the 
rough and ready Jimmy Cagney in the 
height of his striking career. 

During the time we made "Red 
Headed Woman," Chester's small son 
was going through a siege of the croup. 
Between scenes Chester stayed close to 
the phone, getting hourly bulletins 
from his home. His worry about his 
family is a part of his ultra-Ameri- 
canism. Chester fulfills every girl's 
secret demands for the perfect lover 
and husband. 

THEN, after Chester, Clark came 
back into my life in "Red Dust" 
and "Hold Your Man." It was wonder- 
ful to work with him again. Success 
had swept him to the top of the Holly- 
wood ladder since we had worked to- 
gether in "The Secret Six" but it had 
not changed him one bit. He still had 
the same philosophy of life, the same 
ability to laugh at himself and at the 
seriousness of living. And I'll never 
forget his considerateness during "Red 
Dust," when I returned to work after 
living through the greatest sorrow of 
my life. He expressed no verbal sym- 
pathy. He acted as if nothing had hap- 
pened. It was the finest, Tiost under- 
standing thing any man could have 
done. 

Then my path crossed Wally Beery's 
once more in "Dinner At Eight." He, 
too, was the same. More interested in 
whittling, in airplanes, in his baby 
daughter, Carol Anne, and in Marie 
Dressier than in me. Some day I'll 
even scores with Mr. Beery. No girl 
likes indifference. 

And now I've just finished a hectic 
love affair with my thirteenth lover, 
Lee Tracy — not counting, of course, 
Laurel and Hardy. When I think of 
Lee, I think of dynamos, whirlwinds, 
tornadoes, perpetual movement. Dur- 
ing the entire course of our affair — and 
being with Lee Tracy it was a rough 
and turbulent course — there was never 
a dull moment. I often looked at him 
in absolute amazement, wondering at 
his source of vitality and energy. Off 
the screen and on it he is just the 
same. 

Heaven help the girls with lovers like 
Lee. Here today and gone tomorrow, 
sweeping you into his arms one minute 
and forgetting you the next. That's 
Lee Tracy. He is the sort of man who 
admits no barriers, who smashes 
through all obstacles. At the end of a 
day with Lee I was completely breath- 
less. He carries you along with him on 
the wave of his enthusiasm. He doesn't 
know the meaning of the words "no" 
or "can't." If he wants something, he 
goes after it with a determination, 
which can't be stopped. 

THERE they are, the thirteen of 
them, not counting Laurel and 
Hardy. Ben and Jimmy Hall, Lew, 
Jimmy Cagney, Spencer, Bob, Clark, 
Johnny, Wally, Walter, Wally Ford, 
Chester and Lee. I defy any girl any- 
where, on or off the screen, to produce 
such a list of lovers. By this time I 
should know what romance is about. 
I've learned about love-making from 
them. 



84 



The New Movie Magazine, January, 193 U 



Rudy's Brothei 

(Continued from page 27) 



C JIVING up all thought of work, I ac- 
" pted an invitation to lunch. The 
food was good and I was just about to 
n my description of my evening 
at the St. Regis (the story that made 
my cousin laugh till he split the but- 
tons off his vest), when the man across 
from me (who was paying i 
lunch), said, "Say, Bill, you're prettj 
close to R., aren't you? Well, I've '- r "t 
a scheme whereby he can easily 
make $50,000 without turning a hand. 
. . ."I threw him through the window 
without turning a hand, but my foot's 
been sore ever since. 

By working in a corner where no 
one could see nie I managed 
through the afternoon. 

rVN'XER is by invitation and sup- 
■*- , posedly respectable. Ripples of 
conversation spread 'round the table as 
1 waited to leap in with a pun that had 
just occurred to me. Just as I stood 
mentally poised for the leap, they 
turned out to be the customary tida 
waves and out came the little book of 
answers to questions about R. 

PEOPLE, of course, vary. Some are 
nice-because-of and others are nice- 
in-spite-of. Harry Rosenthal of "June 
Moon" fame was on the party given R. 
at his last birthday and we talked for 
five whole minutes without a single ref- 
erence to anyone but ourselves. Ob- 
viously, a nice-in-spite-of man. Mor- 
ton Downey is another one of these. 
He yelled "Hi, Bill!" to me from his 
car the other day without a word about 
anything but me. Of course, the car 
was moving. . . . 

Ted Husing gets himself on my honor 
roll by sticking to kidding. He kids my 
New England accent and I tell him he's 
conceited. 

When R. had to quit the "Scandals" 
for a week, Willie Howard wanted to 
put me on in R.'s place in the several 
dramatic skits that he played in. Fate, 
George White and myself put a stop 
to talk like that. George Gershwin 
made me feel like a Rhapsody in Blue 
the other day when he said, "Ah, but 
I've never met your brother." Sounds 
pretty bad, doesn't it? 

BEFORE I forget, I want to tell you 
about the one altogether too brief 
stage appearance we made together. 
It was at the Brooklyn Paramount 
Theater. Many a goggle-eyed customer 
lolled in his seat unaware that a great 
spectacle was to be unrolled before his 
very eyes. Then, with nary a quip or 
jest, out from the wings rolled a beau- 
tiful tandem propelled by the Vallee 
Brothers, tandemists de luxe. The pro- 
gram note was wrong. It didn't take 
ten minutes to clear the house. But 
R. alone would have packed 'em in. 

Yes, it is pretty tough. But it's been 
getting on the nerves of other brothers 
of other celebrities too. So much so 
that when I ran into Leon Friedman 
(brother of Ted Lewis), we put our 
heads together. That's the putting to- 
gether of heads that was heard 'round 
the world. As a result of this we 
promptly organized a club, or rather a 
refuge. Now the Brothers of Celebri- 
ties Club has a distinguished list of 
members — Tom Patterson (Russell's 
brother), Everett Crosby (Bing's) and 
: ome long-suffering others. 




ii 



We both have 



one grand friend! 



WHAT?"*protestedtheoveralls.-| >o 
you mean to say that the same 
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is gentle enough for feminine frills?'' 

And the loveliness of the nightgown 
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that very thing." 

Here is Fels-Naptha's secret. It 
brings you the extra help of two active 
cleaners — good golden soap and plenty 
of naptha. When these two cleaners 
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clean, they fairly sparkle with sweetness. 



Yet Fels-Naptha is always safe. Its 
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So change to Fels-Naptha Soap! Get 
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When you've seen how gentlj and 
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about the best washday friend 
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Ill S A I oMI'XW . i-l, 1...I. I,.l, ,... I'„. r . M ... . 

Som< women, I understand, lind il <» bil cuter to chip 

Fels-Naptha into tub "t machine hi u a one ol row 

band) i nippers instead ofjustan ordinary Kitchen knife. 
lM hki- to ov iln- chipper, so I enclose It in stamps 

I.. Ii. Ip cover postage. Semi (he tiam|>lr bor, too. 

s\w 



C"y- 



S«>l'- 



(PIl I ■ [lint nnnie niul nddrcM, com|ili*lclv) 



The New Movie Magazine, January, 19SU 



85 







«d 



•■yes, 
use 



rfdotft**- 



tvoty 



{or y° u 



get to -- ^ itrt ef< 




she g^ ° d ° ^ow *at 

she - s us l0g basa 

w iU staV 




Don't dilly-dally another minute, 
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Ivory Soap 

99 44/ioo o/o pure • It floats 



THE 

RESEARCH 

DEPARTMENT 

Another in the series 
on what goes on be- 
hind the scenes in the 
studios 

By JACK JAMISON 



THE RESEARCH DEPARTMENT: 
The spot in the studio where peo- 
ple go to ask about things they 
don't know themselves and can't find 
out about anywhere else. Because 
there are lots of people in a studio who 
don't know anything, this keeps the 
researchers very busy. 

YOU MUST HAVE WONDERED 
how they make the insides of sub- 
marines look so real, how Mae West 
knows how to dress the way they did 
in 1890, how they make sure the "No 
Smoking" signs in a French railway 
station read "Priere De Ne Pas Fumer." 
The Research Department! It sees all, 
knows all, tells all. 

AN AVERAGE DAY'S WORK for 
a research department means: (1) an- 
swering 40 to 150 questions sent in 
by other departments; (2) reading and 
clipping photos from twelve maga- 
zines; (3) bringing up to date the file 
of information on every picture being 
shot; (4) correcting mistakes in cos- 
tume and background in three scripts 
(5) conferring with writers and direc- 
tors; (6) finding a technical adviser 
for a picture. This is regular routine 
that goes on every day of every month 
in the year. 

BUT VARIETY is the spice of the 
research department's life. One day 
brings demands for photos of the white 
gowns and feathers worn by ladder- 
climbing socialites presented at court, 
a duplication of Chicago cops' uni- 
forms, and information as to the how 
and why of the oxygen-tanks worn by 
altitude flyers. Every request must 
be met. And they must be met prompt- 
ly and correctly; 

FROM START TO FINISH on each 
picture, the researchers have their 
fingers in the pie. First, the writer 
comes to them, saying, "I've got an 
idea for a story laid in Seventeenth 
Century Holland. Get me the dope." 
Then the director comes and asks, 
"What the dickens (or something) did 
streets in Holland look like then?" 
Then the art director wants to know 
how the Dutchmen built dining rooms, 
what kind of door-knobs and lamps 
they used. The casting office wants to 
know what types to hire, fat or thin, 
whiskers or more whiskers. The 
"prop" department has to know about 
furniture. And, finally, someone from 
the research department must sit on 
the set all during the filming of the 
picture, just to make sure that no mem- 
ber of the cast or among the extras, 
etc., spoils things. 



The New Movie Magazine, January, 193 % 



THE RESEARCH 
DEPARTMENT 



\l I I i;< HNICAL a<h iaeri are hired 
by the research department. They 
range from college professors to ex- 
Grand Dukes, with military usage and 
court etiquette at their fingertips. A 
director's call for "a reliable convict" 
to sit in on a prison picture resulted 
in the hiring of Robert Joyce Tasker, 
highly-paid studio writer. On 
one gangster film of illicit brewing — 
do you remember when America had 
Prohibition? — a bootlegger was tech- 
nical adviser. 

THE TO! i. II ASSIGNMENT for the 
hers aren't such things as 
"What kind of negligee did .Marie 
Antoinette wear, if any?" Those are 
The tough ones are the recent 
ones. (Because historians haven't had 
time to put them into books.) Dupli- 
cating a 1908 soila-fountain for "Turn 
Back the Clock," had the M-G-M re- 
search folk biting off each other's 
fingers. Fur "Gabriel Over the White 
" interiors of White House bed- 
rooms had tn be copied from photos. 
There were no photos. None had ever 
been taken. But procured photos must 
be. ami procured they were. Most diffi- 
cult ii>b being tackled in Hollywood 
'ting data on French 
prison camps. The French Govern- 
ment swears there aren't any such 
camps. Studio informants whisper 
there are. To get pictures is the job. 

SAMPLE (HESTIONS in a day's 
■work, which must be answered off- 
hand, are "What kind of bathing- 
trunks are in vogue at Antibes this 
year?" — "Were the Egyptians sun- 
worshippers?" — What did Queen Eliz- 
abeth's bathroom look like?" 

THOROl'tillNESS under this steady 
barrage of questions is next to impos- 
sible, yet it must be maintained. A 
file of information for "Queen Chris- 
tina" was kept for a full year before 
ever a camera turned. Garbo return- 
ing from Sweden, brought baskets and 
baskets of material with her. Almost 
every bit of it was already in the files 
at the studio, so thorough a job had the 
department done. 

THIS AND THAT: The Research 
Department is usually upset about 
something or somebody because, being 
precise itself, it expects everyone else 
to be just that way. Even directors 
and stars. (Is that a joke?) So, after 
the department has labored for weeks 
gathering every minute detail as to 
coiffure, "props," architecture, cos- 
tumes and all manner of things, some- 
eiie will knock the whole scene topsy- 
turvy for "dramatic" reasons. Such 
as, for instance, the star using a ciga- 
rette lighter in mid-Victorian settings, 
or casually projecting some of our 
newer slang into a Roman holiday. 

One of the outstanding research 
directors is Harold Hendee, of RKO, 
who maintains a staff in New York 
close to the museums and libraries, 
and floods the studio with huge vol- 
umes of data on each production. His 
latest research opus is "Little Wo- 
men." Harold, once a well-known ac- 
tor, left the stage ten years or so 
ago when, taking stock of himself after 
a season of being in three failures, he 
found that his year's work added up 
to nine weeks — even though it was 
at top salary. So he entered a scen- 
ario department, gradually took to re- 
search and now heads a department 
that is the pride of the industry. 



The Neiv Movie Magazine, January, 193i 



(Satc/u/ jinqertipA- 

WHY? 




« 




Those dry 
splinters ol 
strong suds in your dishpan 



splinters of skin come from 





Change to 

IVORY for dishe^^ 

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Watch your hands smooth up. Ivory has no free alkali to 
dry and redden your hands. Although Ivory costs so little. 



it is pure enough for a baby's skin 



99 "Aoo % Pure. 



Ivory Soap 

prevents "Housework Hands" 



ST 



€l 



rue beauhj 

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Hollywood's Haunted Hill 



(Continued from page 53) 




should live within a stone's throw of 
each other and that each one should be 
struck down in the full flush of youth 
and accomplishment? 

Two of the screen's first great 
matinee idols lived on Whitley Heights 
— J. Warren Kerrigan and Francis X. 
Bushman. 

J. Warren Kerrigan still lives in the 
rambling white bungalow, half hidden 
by pepper trees and with scarlet geran- 
iums growing rampant, at the foot of 
the hill. Almost any day he can be 
seen strolling about, his hair still thick 
and curly but almost white, a cap on 
his head and a pipe in his mouth . . . 
as on the cover of the very first movie 
magazine J can remember. 

ON the top of the hill is the house 
where Francis X. Bushman used to 
live. It is an old-fashioned frame house 
of definite charm, with a high fence 
around it and a winding driveway 
bordered with daisies. Though no 
other star ever earned as much from 
the films alone, today Bushman is bank- 
rupt. However, in a newspaper state- 
ment he said that he didn't care. That 
he was happy. That his life had been 
replete with good things and that he 
would like to live it over. 

When I lived in the middle west, 
Eugene O'Brien made a tour with a 
play called "Steve." Movie stars were 
rare enough, but Eugene O'Brien in the 
flesh was something beyond all dreams. 

Gene has a lovely home on Whitley 
Heights. He still lives there . . . very 
! quietly. Almost every afternoon he 
sprinkles his lawn in his bare feet. 
Gene is still very handsome though he 
has a bit of a tummy. He speaks with- 
out a great deal of enthusiasm of going 
on a diet and staging a comeback. 
Over his fireplace is a huge oil paint- 
ing of Norma Talmadge and when in a 
mellow mood, Gene grows reminiscent. 

Wanda Hawley lived in the house on 
the other side of Eugene O'Brien. 
Wanda was blond and dimpled. She 
appeared in many of DeMille's earlier 
pictures; she was Valentino's leading 
lady in "The Young Rajah"; and for 
a time she was starred in a series of 
comedies. But Wanda grew fat, so fat 
that after a while she was seen no more. 

AND still the hill continued to take 
■ its toll. Ethel Clayton, the girl 
with the languorous, dreamy eyes and 
flyaway hair, who appeared in the film 
versions of a dozen or more of Rupert 
Hughes' novels, was another who lived 
on the hill and whose footsteps were 
dogged by misfortune. After years of 
devotion, that became almost a Holly- 
wood tradition, to the memory of her 
first husband, she fell in love with and 
married Ian Keith. For a while they 
were ideally happy; then everything 
wa'i over in a flare of ugly publicity. 
Eleanor Boardman lived up here 
when she was considered one of the 
most brilliant and promising of the 
younger actresses, and the hillside 
smiled on the ardent wooing of. King 
Vidor. They were married and Eleanor 
deserted the screen for babies and 
domesticity. Their marriage ended re- 
cently with a barrage of not-too-pretty 
charges and counter-charges, and Elea- 
nor was sued by the private detective 
she had hired to shadow King. Since 
the advent of the talkies she made one 
picture » . , and that during the year 



she was under contract to Paramount. 
Though she looked very pretty, her 
debut was considered woefully inaus- 
picious and Paramount didn't renew 
her contract. 

Another ill-fated pair who chal- 
lenged the spell of the hilltop were 
Marshall Neilan and Blanche Sweet. 
Mickey, in whom there is a real flame 
of genius, is no longer in Hollywood, 
and Blanche, still slim and romantic 
looking, is seldom heard of. 

Helen Lee Worthing, one of the most 
gorgeous to find her way out of the 
Follies, lived in a big white house, 
looking directly down the boulevard, 
with her dusky doctor husband. " After 
many tragic episodes, which included 
investigations by the Federal authori- 
ties, attempts at suicide and soul-sear- 
ing publicity, Helen is in a sanitarium. 

SOME time or other they all lived on 
Whitley Heights. Maurice Cheval- 
ier took a house on the hill when he 
had been in Hollywood but a few days. 
Every morning he would set out for the 
studio accompanied by the tiny girl 
with the enormous eyes, who was 
Mme. Chevalier, formerly Yvonne 
Vallee, Parisian musical comedy star. 

Their devotion was apparent to ; 
everyone. All day long Yvonne sat on 
the set, and around the studio they 
said that Maurice never as much as 
looked at anyone but Yvonne. But after 
a little while a hurt and bewildered 
expression crept into the eyes of the 
little French girl. She returned to 
Paris without her Maurice. Maurice 
followed. There was a quiet divorce. 
The King of Spain's cousin lives in the 
house now. 

Thomas Meighan, Ralph Graves, 
Monta Bell, Richard Barthelmess, 
Joseph Schildkraut, Sidney Franklin, 
Lawrence Tibbett, Montague Love, 
George Arliss, Dorothy Devore, Mary 
Doran, Dorothy Peterson, Gloria Stu- 
art, Greta Meyer, Stuart Walker, Ches- 
ter Morris, and a host of others have 
lived or still live on the hilltop. 

There may be a curse on the hill, but 
romance and beauty still linger there. 
As, for example, the most intense cur- 
rent romance in Hollywood — and the 
sweetest — concerns Tom Brown and 
Anita Louise. If you take a short stroll 
you will see Tommy's shining new road- 
ster parked before Anita's gate. 

Perhaps this new generation of screen 
stars will lift the spell from the hill. 
Pretty Patricia Ellis, one of the most 
promising newcomers, lives with her 
parents, the Alexander Leftwiches, in 
Francis X. Bushman's former home. 
There is a small swimming pool and 
the younger set gathers there for 
hilarious times. Those on the way up 
. . . and those on the way down. 

YES, unquestionably, the hill exerts 
a mysterious enchantment. It 
comes on the breeze in the tinkle of 
distant laughter, a quick strain of 
music, a breath of perfume, as the hill 
lies soft and tranquil beneath the pale 
September moon. There is a rustle in 
the trees, then all is silence, but it 
seems that the hill is smiling pityingly 
that anyone should sigh for those who 
lived and loved and laughed on her 
lovely, treacherous bosom . . . and 
there is a whisper that seems to say ■ 
that the story of the hill-top and those 
who have lived on it has only started. 



The New Movie Magazine, January, 1934 



Music in the 
Movies 

(Continued from page 54) 

of the lyric. It's pood, though. (This 
is Brunswick Record No. ' 

"Whose Afraid of the Big Bad Wolf?" 
Well, I guess no one by this time if 
familiarity really breeds contempt. But 
this is a good record, anyhow. This 
time it's a vocal, and Ethel Shutta 
sings it for us. As she has plenty of 
instrumental effects to go with it, I'm 
sure you'll like it. The other side, also 
sung by Miss Shutta, is Hoagy Car- 
michael's tune, "Snowball." This is 
really very good and is the type of song 
that suits her voice. (This is Columbia 
Record No. 2819-D.) 

Bing Crosby is our next vocal artist 
and he is singing songs from his latest 
picture, "Too Much Harmony." "The 
Day You Came Along" is the title of 
the first one we listen to, and it isn't 
hard to listen to, either. Bing sings 
this tune with plenty of rhythm and 
puts it over in great style. Also he 
does a bit of his famous whistling, al- 
though, personally, I think we could 
dispense with that. "I guess It Had to 
Be That Way" is on the other side, by 
the same artist, and from the same 
show. This is just as good as the pre- 
ceding one and I think you'll enjoy it. 
(This is Brunswick Record No. 60*44. i 

Freddy Martin and his orchestra are 
our next entertainers, and this time 
we hear, "Gather Lip Rouge While You 
May" from the film "My Weakness." 
This record seems to have about every- 
thing that could be desired, and I see 
no reason why it shouldn't meet with 
your approval. 

"Be Careful" is the tune on the other 
side, also played by Freddy Martin 
and his orchestra. Although the tune 
isn't the best, this is a nice record. 
Martin builds it up very well and there 
is some enjoyable trumpet work. Elmer 
Feldkamp is the vocalist. (This is 
Brunswick Record No. 6658.) 

Here's another tune from "Footlight 
Parade," played by Leo Reisman and 
his orchestra. "Honeymoon Hotel" is 
the title, and although I think they 
could have increased the tempo on this 
one, it is very smooth to listen to. 

"By a Waterfall" is on the other 
side, played by the same band, but 
after hearing Lombardo's record, this 
one falls flat. However, the vocal re- 
frain is very good. (This is Victor 
Record No. 24399-A.) 

"Savage Serenade" from Earl Car- 
roll's "Murder at the Vanities" is next 
up, and this time it's George Olsen and 
his music doing the honors. Olsen 
handles this very nicely, but the high 
spot is the vocal work by the trio, Bob 
Rice, Jack Clifford and Bobbie Borger. 
They really put the tune over. The 
other side, played by George Olsen, is 
also a tune from the "Vanities." "Me 
for You Forever" is the title, and it's 
on the smoother side. Joe Morrison 
sings the vocal. (This is Columbia Rec- 
ord No. 2810-D.) 

If you like your music warm here is 
one that will fill the bill pretty well. 
"Shake Your Hips" is the title and it's 
played by Jack Teagarden and his Chi- 
cagoans. The other side is also played 
by Jack and the boys — "Someone stole 
Gabriel's Horn." They sure get around 
this one, too. Teagarden sings the vocal 
himself. This is Columbia Record No. 
2802-D.) 



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The Neiv Movie Magazine, January, 1934 



89 



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The Fairy Princess 



(Continued from page 57) 



City_ 



L. 



Sta te_ 

Good in U. S. A. only 



.J 



It is a far cry from that shared dress- 
ing-room to the suite provided for her 
by Warner Brothers today. But, if she 
lives to be a thousand, Ruby Keeler 
Jolson will never have a more staunch 
friend, a more faithful and loyal be- 
liever in her talents, than Texas 
Guinan. 

EVERY dollar that Ruby earned went 
to the support of her family. Her 
father was ill, her sisters and her 
brother were too young to work ; so the 
burden rested on Ruby. She didn't 
care. As always, she snapped her 
fingers at the silk dresses, the fur 
coats and the limousines that other 
girls bought with their money. She 
spent her salary on her folks. And 
when there was a little left over, she 
spent it for voice lessons or on horse- 
back riding. 

Ruby was eighteen when she got her 
first real break, a dancing part in 
"Lucky." What thrilled her most, 
though, was the beautiful messages of 
congratulations she received from the 
Sisters of the Convent she attended as 
a child. Even when she was a cabaret 
dancer in La Guinan's club, the sisters 
sent her nice messages. 

At about the same time another thing 
happened that sent her spirits sky- 
rocketing. And no wonder! Ruby fell 
in love. She fell madly in love. 

It lasted for three years. 

It might be that if Ruby hadn't made 
a trip to California, and, while out 
there, hadn't fallen in love with Al 
Jolson, that she would have married 
the boy. But she did make the trip, 
and she did fall in love with Jolson, 
though she kept it a secret for many, 
many months. When she came back 
to her parents' home in Long Island, 
she told her mother that she had fallen 
in love with Al Jolson. 

"But, Ruby, what about . . .?" her 
mother asked. "After three years, you 
can't just tell a man you don't care 
for him any more." 

"But, Mama," Ruby answered, "I 
love Mr. Jolson. I want to marry 
him." 

YOU see, she was honest. And she 
didn't believe that, being in love 
with another man, she should pretend 
that she was going to marry the boy. 
Her mother persisted — what about this 
boy who was in love with her and had 
been for years? 

"Oh, I can't help it, Mama," Ruby 
cried. "I'll have to tell him. He is 
not made of stone — I'll have to break 
it as easily as I can. I love Al. I 
love him so much I didn't think it pos- 
sible." 

Ruby, however, followed her mother's 
advice. She waited before telling 
Johnny. Jolson returned to New York 
and Ruby got a booking at the Capitol 
Theater. 

One evening she appeared backstage 
with a new diamond ring, a five-carat 
square-cut diamond that the others 
couldn't help noticing. She was ex- 
tremely mysterious about the donor. 

The ring was a gift from Jolson but, 
since she had not yet told the others 
about her new love, she couldn't pub- 
licly acknowledge such an extravagant 
gift from another man. But the boy 
saw, and he asked questions, and soon 
the whole story came tumbling out. 



NOW, it was generally known around 
Broadway that the boy in the case 
was not one to be thrown casually aside 
by any girl, no matter how much he 
loved her. Yet, when he learned from 
Ruby's lips of her love for Jolson, he 
did the unexpected. He didn't get 
angry. He behaved splendidly. 

It was like a fairy story, the Jolson- 
Keeler romance. One day Ruby was a 
little girl supporting her family. The 
next, she was married to Jolson at Port 
Chester, New York. On the following 
day she was on board the Olympic — 
in a stateroom, mind you — sailing for 
Europe on a honeymoon. 

Ruby Keeler, the little tap dancer 
and cabaret performer, the wife of a 
millionaire, a man who was and is one 
of America's foremost celebrities. 

Three months later Ruby had an op- 
portunity to show the world how sacred 
that marriage was to her. It was when 
Eddie Cantor cracked the joke about her 
marriage. He didn't mean to offend — 
it was just a good joke to be used in 
the show. But Ruby was angry. She 
threw up the best role of her career and 
walked out of the show in Pittsburgh. 
She knew she might incur the wrath 
of Equity and of Ziegfeld, but she 
didn't care. Besides, she was lonesome 
for her husband who was in Holly- 
wood. He mattered more to her than 
all the fame in the world. 

ZIEGFELD, though he was known as 
a harsh taskmaster when it con- 
cerned his shows, must have admired 
and respected her for her stand, for a 
short time later he asked her to play 
the leading role in a new show, "Show 
Girl." 

Ziegfeld was not the only one who 
admired Ruby for what she did. Jol- 
son's love took a new bound. When 
Ruby returned to New York to play in 
"Show Girl," she displayed a new gift 
from her husband, a wrist watch in a 
bracelet surrounded by diamonds. A 
few months later, when her husband 
joined her in New York, little Ruby 
Keeler, the girl who all her life had 
lived in a crowded flat in Long Island, 
had a suite in the Ritz Tower. 

LIFE was perfect. Ruby looked ahead 
■* seeing nothing to mar the view. 
She had her husband; she had her 
career; Ziegfeld had said she would 
be a great success; and Al was encour- 
aging her to do her best; he had faith 
in her abilities. 

Day and night she rehearsed, getting 
herself perfect in the part. The show 
opened in a blaze of praise. Ruby 
Keeler was an overnight hit. Even 
Al, sitting in the audience on the open- 
ing night, could not contain his happi- 
ness. He rose from his seat and, stand- 
ing there in the midst of a hushed 
house, sang "Liza" to his wife on 
the stage. Even first nighters, brittle 
to sentimental scenes, were touched. 

Then came calamity — and Ruby 
Keeler Jolson felt its heavy hand. 

One night, just at the end of the 
second act of "Show Girl," Ruby col- 
lapsed in her dressing-room. A doc- 
tor was called. 

"She needs an operation at once," 
he said. 

Ruby was taken home and the frantic 
Al Jolson called in Dr. Alfred Hellman. 
Dr. Hellman wanted to send her to the 



90 



The New Movie Magazine, January, 193 4- 



The Fairy Princess 

hospital immediately, but Ruby begfred 
to be allowed to continue in her part 
until a substitute could be found. 
Though she was in terrible pain she 
still appreciated the opportunity Zieg- 
feld had given her and she wouldn't 
let him down. 

Ziegfeld, always sensitive to loyalty 
and courage, told the entire cast that 
he had never known a pluckier person 
than Ruby. He wired to Dorothy Stone, 
then in Hollywood, to rush to New 
York and replace Ruby. It was three 
days before Dorothy arrived, so for 
three evenings Ruby played her part 
on the stage. And each night in her 
dressing-room she writhed in agony, be- 
tween scenes. 

When she was well, Jolson, afraid 
to leave her alone since her illness, 
insisted on taking her back to Cali- 
fornia with him. And she went will- 
ingly, for Ruby snapped her fingers at 
such things as careers when they inter- 
fered with her marriage. 

In California, such is the way of the 
movies, that when it became known 
Ruby was not interested in a screen 
career the movie moguls immediately 
began to hound her. Ruby was flat- 
tered, but for all the attention she gave 
reen offers they might as well 
not have been made. 

''I don't think I'll go in the movies," 
she confided to a friend. "I've noticed 
Al when he is working. He is terribly 
nervous and worries all the time. Think 
how awful it would be for him if he 
began to worry about my work, too. 
No," she shook her head, "I wouldn't 
want him to do it." 

One day Paramount called and asked 
her to take a movie test. 

It is the sort of call for which thou- 
sands of girls wait with bated breath. 
Ruby understood its importance and 
said she would report for the test. But 
then, Al came home and said exuber- 
antly that he thought a trip to Catalina 
would be swell. Ruby promptly forgot 
all about the test and went along. 
Once more Al won out and Paramount 
lost. She never reported to make the 
test. 

Why, she asked herself in Catalina, 
should she bother about work when she 
was happy being Mrs. Al Jolson? If 
she had considered the question, she 
might have said it was a case of rela- 
tive values. Why chance certain happi- 
ness against the uncertain pleasures of 
stardom? 

GRANTED that giving up material 
things for marriage is a form of 
bravery, Ruby Keeler is also brave in 
other ways. 

Take the time s-he was on a train 
leaving Los Angeles, when a bandit 
climbed on board and began robbing 
passengers. Ruby was walking in the 
corridor when she came face to face 
with the bandit. He carried a gun. 
His face was masked. Those were two 
items to shake the courage out of any 
girl. 

Ruby stared hard at the bandit; then 
she began to scream as loudly as she 
could, forgetting entirely to take into 
account the fact that the man might 
shoot her for giving the alarm. Some- 
how, he escaped, but it wasn't Ruby's 
fault. However, her lusty screams 
saved her own jewels while other pas- 
sengers were robbed. 

While Al was busy with pictures 
(Please turn to yaye 92) 



THE TEST THAT SHOCKED 
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When you receive the five shades of Lady Esther 
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The Neiv Movie Magazine, January, 1934 



91 



Good-bye 

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A Cold is an 
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The Fairy Princess 



(Continued from page 91) 



GROVES LAXATIVE 

BROMO QUININE 



there was little for 'her to do, so she 
asked if he objected to her returning 
to the stage. Al said, no, he didn't 
mind — subject, of course, to a sudden 
change in plans. 

An offer came from the producers of 
"The Vanderbilt Revue" and Ruby ac- 
cepted it. She rehearsed her part for 
several weeks and played it as she 
thought it should be played. Now, 
Ruby lays no claims to being a Duse 
or an Eagels, but she does know when 
she is good and when she is punk. Sud- 
denly she walked out of the production 
and went back to California. 

You see, Ruby has a standard to live 
up to, and when she feels that she is 
falling short of that standard, she gives 
up the role. Always in the back of her 
mind is the thought — Will Al think this 
right? Will he want me to cut out this 
bit of business? Will he approve of 
this? And if the answers in her mind 
are negative, she snaps her fingers at 
contracts. 

NOW, Ruby doesn't care for horse 
racing. She would rather see a 
tennis match than watch a horse race. 
But Al is mad about the races. He 
can sit and watch a horse lose five thou- 
sand for him without blinking an eye- 
lash. Ruby can't. But as long as Al is 
fond of horses, Ruby interests herself 
in them. She even went to the extent 
of owning a thoroughbred, Concorde, 
by name. In July, a year ago, Con- 
corde was entered in a race. 

Ruby was half-crazy with excitement 
about the horse. Besides, Earle Sande, 
the celebrated jockey, was riding the 
horse. Came the mile and seventy-yard 
race. Concorde was not the favorite, 
but that made no difference to Ruby. 
She knew he would win. The race was 
well on when Concorde got the lead and 
held it, coming in an easy winner. 

Anyone seeing Ruby on the day of 
that race would have asserted that she 
was the world's greatest track en- 
thusiast. Yet, not long ago, Ruby stood 
on the porch of her parents' home in 
Woodside, Long Island, and watched 
Al drive off in his car, alone. He was 
going to the races. Since she did not 
care to go along with him, he went by 
himself. 

She sees no reason why, since her 
interest in the races is only spasmodic, 
she should interfere with her husband's 
pleasure. And this, little children, is 
another of the fundamental reasons 
why Ruby is considered the perfect wife 
by her husband. 

Until she married she cared little 
for golf. Since she has played the game 
with frequency, she has grown to love 
it. Now she shoots in the eighties, 
which is a better game than most men 
play. She took up the game because 
Al is so fond of it. 

You see how wise she is? No being 
a golf widow for Ruby Keeler Jolson. 



If Al liked ballooning, the chances are 
that Ruby would take it up, too. 

T_J ER life has become a good deal like 
■*• -*■ that of a Fairy Princess who has 
met her Prince Charming. She never 
knows what gifts she will get. Maybe 
Al will come home with a new diamond 
ring or a bracelet. Perhaps he will sur- 
prise her with a limousine or a trip to 
some place she has expressed a desire 
to see. He would get her the moon if 
she wanted it. 

Can you blame her for putting her 
marriage before a career? It was what 
the Sisters at the Convent taught her 
to do — and life has borne out the truth 
of their lessons. 

A prying soul once cornered Ruby 
and asked her a lot of stupid questions, 
the first of which was: "What do you 
think of separate apartments for mar- 
ried persons?" 

"What?" she was actually shocked. 
"Separate apartments? Why, I think 
even separate rooms are silly. What 
do people get married for, if not to be 
together?" 

The prying soul was still inquisitive. 
There must be a weakness in the idyllic 
romance. 

"Don't you think," asked the P. S., 
"that couples should take trips away 
from each other to get a fresh perspec- 
tive? Don't you think artists need a 
change from one another?" 

Ruby was wide-eyed with amazement. 
"I should say not," she answered 
vehemently. "I should hate to think 
that Al wanted to make trips without 
me — and I find half the pleasure in 
traveling is in being with Al." 

Still the P. S. was . impatient. She 
pried and pried until Ruby was vexed. 

"I think," Ruby exploded, "that all 
this bosh about separate rooms and 
separate trips is nonsense. Either peo- 
ple are or aren't married. There isn't 
any half-way measure." 

"Oh," said the Prying Soul, dragging 
out her ace card, "the reason you feel 
that way is because you and Al like 
to do things together; take trips, play 
golf, attend races and parties, to- 
gether." 

Ruby objected to the smug statement, 
but she held on to her Irish temper. 

"That is not true," she retorted. "Al 
and I just enjoy being together — not 
doing things together, but just being 
together. You know, the way you like 
to have somebody around, someone you 
really like." 

And this brings us back to where we 
started : 

Ruby thinks it's great to be a movie 
star. She is happy in her success. But 
— Al and marriage come first. And it 
may be soon — it may be a little longer 
— when she will desert her career and 
start raising a family. When it hap- 
pens, don't pretend surprise. We 
warned you! 



PLANNING YOUR MEALS 



This month's food circulars have been designed to help you plan and serve your formal and 
informal meals. Here they are: 

1. Chart for table setting 5. Afternoon refreshments 

2. Formal table setting 6. Late evening refreshments 

3. Informal table setting 7. Sunday breakfasts 

4. Company luncheons and dinners 8. Family luncheons and dinners 

If you would like copies of these circulars, send ten cents to Rita Calhoun, care of Tower 

Magazines, 55 Fifth Avenue, New York, N. Y. Remember they are printed on loose leaves, so 
that you can keep them in a loose-leaf binder. 



92 



The Neiv Movie Magazine, January, 193b 



Ted Cook's 
Cook-Coos 

(Continued from page 50) 

tending drinking parties, habituating 
beauty parlors, Kallivantinjr over the 
countryside in automobiles, and other- 
wise flaunting their lack of inte 
home life." — Helen Twelvetrees. 

In fact, it seems that there are just 
too many present-da} - wh 

And on the other band, Holly- 
wood might very justly complain 

that its public is always den 
ing something new— but will n 
stand for anything different. 

MA XV a movie exhibitor (you know 
. . . the gent you see standing 
around the lobby, wearing a worried 
expression and a tuxedo) is of the 
opinion that pictures with unhappy 
endings make the audience unhappy. 
If such stories must be made, exhibi- 
tors believe the studio should also send 
along an alternate happy ending. Then 
the exhibitor could be left to decide 
which ending the public wants. 

This suggestion will doubtless receive 
plenty of consideration because it com- 
plicates an industry that is already too 
complex. What worries us is the sus- 
picion that exhibitors are apt to be 
wrong about what the public wants. 

( However, let's not get into a discus- 
sion of adagio dancers.) 

As a matter of fact, anybody can be 
wrong about what the public wants. 
So what we say is: why not give the 
customers their choice of whether a 
picture is to end happily or be a finan- 
cial failure? 

Show two endings and let the public- 
forget the one it doesn't like. It ought 
to be easy enough. If we had good 
memories, we'd all be scenario writers. 

BUT there's another factor that 
should be taken into consideration. 
The final scenes aren't the only things 
we fanzy wanzies object to in a lot of 
movies. Dear me, no! So why not 
have only half, say, of each super- 
production made originally? Show this 
half to the cash customers. After 
thinking it over, they could fill out 
cards indicating what they'd like to 
have happen next. 

These cards could then be sent back 
to the focal infection point. Hollywood 
could complete the epic along the pro- 
posed lines and ship it back to the 
audience which by this time would have 
found something else to worry about. 

And, with nobody interested in see- 
ing the rest of the picture, the surplus 
film could be converted into celluloid 
collars and distributed free to censors 
to get hot under. 



To obtain circulars described 
on page 72, write to Miss 
Frances Cowles, care of this 
magazine, enclosing 'four cents 
■for any one circular, ten cents 
for three circulars, or fifteen 
cents for all six. Be sure to 
indicate which circulars you 
want by the numbers given in 
the accompanying descriptions. 



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Have smooth, dainty arms. Wear the 
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See that the label spells — 



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ASK YOUR DRUGGIST 
OR GET BY MAIL 

For a regular size bottle, fill 
in coupon, mail with 45c 
(coins, money order or stamps) 
to C. Marchand Co., 251 
West 19th St., New York City. 





Dopt. 


I-B 












ADDRESS 




CITY 


STATE 


1 DRUGGIST'S NAME 








| ADDRESS 









The New Movie Magazine, January, 193i 



93 




JLLands That He Adores 
— Cherish J_ heir Charm ! 



AL 



the 



ways, men are sensitive to 
allurement of soft, fair, smooth-tex- 
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wno keeps lier lianas at their loveli- 
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(Doctors and nurses, -whose hands 
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Try Pacquin s for a week. X ou 11 find 
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Hollywood Slave 

(Continued from page 49) 



but I decided not to pursue the inquiry ! 

"You'd better come along with us, 
miss," broke in Claude, who had availed 
himself of the interval to repair the 
ravages of the night, and was once 
more his impeccable, uniformed self. 
"We can park the little car here, if 
you say, and use the big car, or we 
can all three get into this one. Mr. 
Stresseman won't sleep till we get you 
back. He's been phoning the filling 
station here every few minutes all 
night." 

"That's right, baby," agreed Sam, 
"the boss is goin' nuts!" 

It was a strange, compelling spell — 
a binding web — which this yellow- 
haired, green-eyed giant wove around 
me. Tonight I was too tired to try to 
break its threads. 

WHEN I next awoke, it was long 
past high noon. The rays of the 
sun through the casement windows, 
which had been so hot and yellow the 
day before, were softer now; voluptu- 
ously caressing. I don't know when I 
became aware that Fritz Stresseman 
was sitting on the edge of my bed, 
looking at me and calling me by a 
strange, new name. I don't know how 
long he had been sitting there. All I 
know is that it seemed quite natural 
that I should be opening my eyes and 
looking confidently into his. 

The name by which he was calling 
me is no longer strange or new, to me 
or to the world. It is the name which 
has blazed in myriads of lights on 
countless theater marquees in thou- 
sands of cities and towns from Tokio 
to Tia Juana. I will not use it here, 
lest Wentsch and the rest of those 
shiny little men who control my pic- 
tures sue me and seek to recover mil- 
lions for exposing the lie which they 
have made me live these last two 
years; but I will use another name, 
which means the same thing. 

"Astra," he was saying, "Astra !"_ 

I rubbed my eyes and dug myself in 
a little deeper in the billowy sea of 
silk and linen. 

"Why do you call me Astra, Mr. 
Fritz?" I asked, sleepily. 

"Because you are like the stars, 
Astra. I have been watching you. The 
sun, when it is high in the heavens, 
buries its golden rays in your hair, and 
they come out silver. You shine pure, 
Astra, pure like the stars." 

I liked that. What girl wouldn't? 
He was marvelously good to me, this 
yellow-haired giant with the compelling 
eyes. I couldn't leave him. I knew 
that now. Yesterday, I had been an 
hysterical girl. Today I was a woman. 
My mind was once more star-like in its 
clarity. How could I, an unknown, 
with only a few dollars in my pocket, 
without powerful friends, hope to find 
another unknown, a vaudeville actor 
who could change his name a dozen 
times and throw me completely off the 
trail — who would do that, I knew, in 
his present mood, if he thought that I 
was following him. 

NO, I would stay here in this beauti- 
ful place, I would make money 
and fame and powerful friends. I 
would draw this boy back to me by the 
very magnetism of my success — and if 
that failed, I would bring him back by 
virtue of the influence I could com- 
mand. Yes, I thought somewhat 



sleepily, that was by far the better way. 

"Astra," the big man was saying, "it 
is for you to get up now. We leave 
for New York in one hour." 

I was no longer sleepy. I was pre- 
pared to listen to Fritz Stresseman's 
arguments that I should stay; I was 
even prepared to yield gracefully to 
them; but, even with what I had al- 
ready seen of the man and his methods, 
I was not prepared for this. 

"Here," he said, handing me a lovely 
Chinese thing — or was it Egyptian? — 
all embroidered in gold, "you must not 
take cold." 

He ivas kind, Mr. Fritz! 

"I have had clothes made for you," 
he said in his most assured manner. 

He had left the window and was 
standing at the end of the bed, holding 
high in his great arms a darling little 
frock of a rough, golden woolen ma- 
terial — half dress, half suit — ideal for 
traveling. I stopped half way through 
my orange juice, and, broken-hearted 
though I was, I gasped: 

"Will it fit?" 

"Of course. Pierre took your meas- 
urements the other night after you 
fainted. He and his people have been 
working day and night ever since. In 
these bags, you will find everything 
else you need." 

T FOLLOWED his glance to the 
1 chaise longue, which was piled high 
with traveling cases, each with a cover 
and the initial "A" on each cover. 

He held suit and hat high again in 
his big, gentle hands, while he caressed 
them with his gaze. My woman's eyes 
roamed to a tweed traveling coat, 
which hung over the back of the chair 
where, on my previous visit, Sam or 
someone had hung my clothes. Fritz's 
eyes followed mine. 

"This," he said, lifting the coat, "will 
do for the plane, and also for the boat." 

"The boat?" 

"Yes. In one day, we reach New 
York. In four more days — five days 
in all — we reach Paris." 



I AM not going to bore you with my 
trip by plane and boat from Holly- 
wood to Paris and return. This is the 
story of a Hollywood slave, not a 
travelchat for the guidance of itiner- 
ant tourists. Suffice it to say that we 
left the Burbank Airport at 4:15 Mon- 
day afternoon, that we arrived in New 
York at 9:10 the following evening, 
that we boarded the Bremen at its 
Brooklyn dock in time for its midnight 
sailing, and that, on the Friday night 
following, we were dining at Ciro's in 
Paris. 

On the boat I had a suite which had 
been occupied, only two sailings be- 
fore, by the great Jeritza. From New 
York to Cherbourg I never left it. 
Fritz had a simpler, more mannish 
suite on the same deck. He roamed 
the ship freely, telling everybody how 
he was going back to Europe to find 
just the right girl to play the Egyp- 
tian goddess in his new picture. 

The radio operator picked up the 
story, and relayed it back to New York. 
The New York papers carried the 
story, and so did the Associated Press. 
In Hollywood, his secret departure in 
his own plane created a sensation. One 
columnist said that he had gone all the 
way to Europe by air. It was the be- 
ginning of the ballyhoo, the lie, which 






94 



The New Movie Magazine, January, 193b 



Hotne-Makers Hollywood Slave 



Here's Aid to 
HOME BEAUTY 



1* 








J 


^b 




UVINC ROOM COLOR SCHEME 




Valbi 


Apple jtreen. 




Floor : 


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Rug: 


Rim. 




Praperici: 


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run, green and yel- 
low figures. 




Curtains: 


Cream. 




Furniture: 


Maple. 




Upholstery 


Rust, black, green 
and rose. 




Accessories 


Rust, green, pewter, 
yellow and terra- 
cotta. 



V^OLOR harmony in a room and 
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fee? Do you know what curtains 
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when to use a plain or a figured 
drape? 

These two pamphlets will answer 
these and many other questions about 
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"BRIGHTEN YOUR HOME WITH 
COLOR" explains the distribution 
and balance of color and gives twenty 
different color schemes for living 
room, dining room, bedroom, kitchen 
and bath. This pamphlet tells how to 
give the effect of warmth to your 
rooms, of spaciousness and good 
taste. 

"WINDOW TREATMENTS" ex- 
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Send 10c for each pamphlet to 

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TOWER MAGAZINES, INC. 
55 Fifth Ave., New York, N. Y. 



was to entrap mc, and finally to en- 
slave me — while it pave to expectant 
millions the new "European" sensation 
which they craved! 

Fritz continued to be kind to me, 
even when I showed myself the least 
promising of linguists. Patiently, for 
two hours in the morning and two 
hours in the afternoon, he labored with 
me and my French. He, with his Ger- 
man accent, and I with my Ohio one, 
we talked endlessly and unintelligibly 
about such subjects as my limited vo- 
cabulary permitted. By the time we 
landed on French soil, I was, at least, 
voluble. It was not necessary, Fritz 
insisted, that I be correct; but I must 
be fluent. And fluent I was — through- 
out my Paris stay — to the confusion. 
and I have no doubt the amusement, 
of waiters and concierges! 

That first Saturday in Paris was 
one seemingly endless confusion of 
dressmaking- salons. Fritz or Sam or 
somebody had cabled ahead to half a 
dozen noted Parisian coutouriers, whose 
representatives crowded the lobby of 
The Meurice, where Fritz had taken 
two wonderful suites overlooking the 
Tuilleries Gardens. Far into the night, 
I learned the next day, Fritz had sat 
up with these people, looking at 
sketches, examining costumes and em- 
broideries, choosing fabrics, rejecting, 
eliminating, narrowing the choice so 
far as possible in order to expedite 
matters the following day. 

He had chosen Chanel for sports 
costumes and street dresses. We went 
there first, and stayed until just before 
lunch: an endless procession of tall, 
willowy mannikins passing before us 
in the costumes Fritz had selected for a 
final choice. I had never been in a 
place like that before. I thought they 
were beautiful. I couldn't see why 
Fritz continued to have any interest in 
me, but somehow, he did. 

AFTERWARD, we had luncheon with 
. Paul Pierre himself in his famous 
garden. I thought he was an ugly old 
man, but his garden was lovely. So 
were his clothes. Any disappointment 
I may have felt at the apparent or- 
dinariness of the clothes in which Fritz 
Stresseman had chosen to smuggle me 
unnoticed out of Hollywood and out of 
America vanished at the sight of the 
exotic wardrobe which he now chose 
for me from the bizarre collection of 
the famous Monsieur Pierre. 

"Are all these things for the pic- 
ture?" I gasped, when he had told the 
vendeuse to lav aside the fifth or sixth 
sumptuous evening frock. 

"None of them are for the picture," 
he answered. "They are for you. They 
are for the new you. So is this." 

Monsieur Pierre himself was ap- 
proaching with an antique tray on 
which there stood the largest bottle of 
perfume I had ever seen, the largest I 
had ever imagined; and of exquisite 
design. 

"This," said Fritz, "is the work of 
the two Pauls — Paul Pierre and my 
own Paul in Hollywood. They have 
been working over it by cable and 
trans-Atlantic telephone ever since we 
left. I have now approved it. It is 
yours. It is you. Look — it is 'Astra'." 

He held before my astonished eyes 
th» beautifully designed label, all in 
yellow and black. Yes, it was "Astra." 

"You will use no other." 

(Please turn to page 96) 





ovenServe 

The Gift She'd 
Choose Herself 

Something new! You bake. 
You chill. You serve. All 
with the same beautiful 
% ^ii3 dishes. 

OvenServe saves time 
tSAI ^ t ... saves dishes ... serves 
food more attractively. Heat won't 
break it. Cold won't crack it. You've 
never used dishes like this before. 
They are made by the famous Homer- 
Laughlin potteries. >m, £1 

OvenServe has all the /Kj ^ ^UBi 
dishes you'd expect to i)V v"""' ~~~" 
find: service and salad '•^l^^J 
plates, cups and saucers, ' 
platters and serving dishes. wCKVC 
Plus the out-of-the-ordinary : French 
style casseroles, individual bean pots, 
covered baking dishes, 
I Welch Rarebit plates, shir- 
I red egg dishes. You'll want 
'^^\' ■ them for yourself. You'll 
f~ H 1 1 I wanf them for gifts. 

Jgolz for tlio JaOcL 





SOLD AT MANY F. W. WOOLWORTH CO 
FIVE AND TEN CENT STORES 



The New Movie Magazine, January, 1934 



95 



I?>ii©©ir ©hits 
Really 




Sunday j JEANJ SARGENT, l_ 
, THE BROADWAY STAR, SPEAKING - 

FOR ALLURING LIPS THE MOVIE STARS 
AND THE GIRLS IN THE BROADWAY 
SHOWS USE A SPECIAL LIPSTICK... 
CALLED KISSPROOF. . .THEY COULD 
PAY ANY PRICE . . .YET YOU CAN GET 

"XjrV — v KISSPROOF LIPSTICK 
IN THE IO* STORE 
JUST TRY IT.'" 




Try the Stage and Movie Lipstick 

Have the same "lip appeal" that the movie 
stars and Broadway actresses have. Use 
the same lipstick! It is the new KISS- 
PROOF Indelible Lipstick— Special Thea- 
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it has been placed by the make-up experts 
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will do the same for you. 

Use it tonight! You will be thrilled! You 
can get it in all shades, including the new 
Special Theatrical Color, at any toilet 
goods counter and at the 10<* stores. 

Kassproof 

J%ide/Me LIPSTICK 



Hollywood Slave 

(Continued from page 95) 



"May I smell it?" I ventured. 

"It is not necessary," he said, "I 
have approved." 

The next day we played. The morn- 
ing at Versailles. It was the Sunday 
when the fountains play. Luncheon 
at the Trianon. Tea at Saint Ger- 
main. Dinner at Foyot's. 

"We stay here one week," said Fritz, 
as we crossed the bridge in the shadow 
of the Eiffel Tower on our way back 
to the hotel. "We will do nothing- to-- 
morrow, next day, any day, except 
what you call it, absorb. Yes, we will 
have fittings, many fittings; but al- 
ways in the mornings; our afternoons, 
our evenings shall be free. We will go 
to restaurants, to music halls, to Mont- 
marte. For fun? No. To absorb." 

I wasn't sure what he meant by that 
word "absorb," but I soon learned. 
Everywhere we went, we saw people 
of a kind I had never seen before, 
people of that strange polyglot world 
which is the tourists' Paris. Women 
we saw from the Latin countries, from 
the Argentine, from Balkans, from 
Russia — especially from Russia — who 
dressed, who walked, who danced as 
no women I had ever known had 
dressed and walked and danced. Every- 
where he went, we heard English: 
strange, broken, delightfully charming 
English: "English English," as Fritz 
had said, but with a Russian accent, a 
Spanish accent, a Roumanian accent. 

IT was as Fritz had prophesied. I ab- 
sorbed. Mimic that I was, I found 
myself talking as they talked, walking 
as they walked; assuming what in 
Cadiz would have been called "airs," 
but what I well knew would pass in 
Hollywood as personality. A mirror, 
that's what - 1 was. The gift of re- 
flection, that's what I had. How well 
this man with the green eyes had 
judged me! At the end of the week, I 
was cinema perfect: "Europe's Gift to 
the Silver Screen." 

I am ashamed to say it, but it wasn't 
until I had emerged from this mad 
week's whirl, and was safely tucked up 
in my steamer-chair on the sun deck 
of the west-bound lie de France, that 
my thoughts went back in any perma- 
nent way to the boy I had left behind 
me in far-off California. I blamed my- 
self horribly for this neglect — and yet, 
I wonder if it wouldn't have happened 
to most girls under such extraordinary 
circumstances? Anyhow, with the prow 
of the great boat set for home, my 
thoughts were again with Trav. 

I had written him a brief, hysterical 
note from the little theatrical hotel in 
Fresno, where I had gone in a last vain 
hope of finding him. It didn't say much 
except that I loved him, that I hadn't 
done anything wrong in staying at 
Fritz Stresseman's the night I fainted 
in the goddess gown, that I would come 
to him wherever he might be to share 
his luck whatever that luck might be. 
Of course, I had not heard from him. 
Perhaps, I never would. The only ad- 
dress I had was the agent's in San 
Francisco. Perhaps he would never go 
there. Who could tell? 

Perhaps, on the other hand, he had 
got my letter right away, and had 
written me to say that he forgave me, 
that he would take me back — perhaps 
he had even rushed back to Hollywood, 
only to find me gone to Europe with 
another man! 



T T was with a heavy heart, now that 
-•- the first excitement was over, that I 
played my part — my lie — for the benefit 
of the passengers on the boat and the 
reporters on the press-boat in New 
York. This was back in the publicity- 
mad days of Mayor Jimmy Walker, 
when anyone with sufficient pull could 
be met at Quarantine by the official tug 
Macon and be motored up Broadway 
in city-owned automobiles through 
showers of ticker tape and the torn 
leaves of telephone books to receive the 
keys of the city on the City Hall steps. 
I suffered it all, even the Walker 
wisecracks, but it left me cold. I could 
have kissed Fritz for taking me out 
of it all the moment the necessary 
photographs had been taken and the 
necessary word of thanks — in broken 
English which the newspapers char- 
acterized as "charming" — had been 
spoken into the microphone. I could 
have kissed Claude, too, for having the 
bird-like silver plane all tuned up and 
ready to go the minute we reached the 
Newark Airport. 

Just as we were taking off, a special 
messenger, traveling at racing speed 
under a motorcycle escort, reached us 
with the afternoon editions. We were 
a success. We were front page news. 
Every paper in the broad land over 
which we were about to fly would hail 
this night the rise of Astra, the new 
European star. Tomorrow, at Bur- 
bank, all Hollywood would be out to 
welcome us. 

We dropped Claude at Tucson; and 
on the last lap over the purple desert, 
Fritz himself took the controls. It was 
better theater, he explained, that we 
should land alone. At the Airport in 
Burbank the scene was beyond descrip- 
tion. The studios of Isadore Wentsch 
and his associated producers, employ- 
ing some two thousand people, had been 
closed for the day. Great trucks and 
buses and sight-seeing cars and a small 
army of taxicabs had been used to 
transport these paid claquers to the 
scene of welcome. In addition there 
were flocks of private motor cars of 
every kind and description which had 
brought their curious owners from Los 
Angeles and the surrounding country- 
side to catch a first glimpse of that 
mysterious European importation, that 
discovery of the great Fritz Stresse- 
man, that glittering, glamorous, and 
oh ! so European me. 

Then there were the city officials, the 
representatives of the civic societies 
and the trade associations, the min- 
isters, the German consul (in honor of 
Fritz), people from the Hays office, cor- 
respondents of the New York papers, 
writers for the fan magazines, report- 
ers for the local press, radio broad- 
casters and, of course, photographers. 
Photographers, photographers ! Photo- 
graphers everywhere ! 

They snapped me with Fritz, with 
Isadore, with the microphone, with the 
plane, with the beautiful new car — a 
landaulet like Fritz's, black like Fritz's, 
but with tiny stripes of gold, and on 
the door a great gold "A" — which Isa- 
dore Wentsch, on behalf of the studio 
and with appropriate words to the 
microphone as to its obvious and en- 
tirely believable costliness — presented 
as a welcoming token to his new star. 

"His new star!" growled Fritz, so 
loud that I am sure his voice reached 
the ears of Isadore Wentsch; it may 



The Neiv Movie Magazine, January, 193 U 



Hollywood Slave 

even have reached the ladies and gentle- 
men of the radio audience in Kankakee. 

I KNEW little more until the great 
car — on the front seat of which sat 
two impeccable brothers of the impec- 
cable Claude, each in a gold uniform 
trimmed with black — reached Beverly 
Hills, began to climb the high hills 
above "Piekfair," and stopped in the 
courtyard of the great Moorish palace 
with the forty rooms and the shaded 
patios and the playing fountains and 
the blue and gold macaws. 

"Well, baby," whispered a familiar 
voice behind me, which I recognized as 
Sam's, "how'd'ye like yer little hut?" 

Before I could answer in my best 
broken English, the spell, which all 
this grandeur had temporarily cast 
upon me, was broken, destroyed, an- 
nihilated, made as if it had never been. 
As I entered my great living room — 
that living room, you remember, which 
was sixty feet long and forty feet high 
— a tall, tail-coated butler handed me a 
tray on which there rested a special 
delivery letter. The address — I knew it 
before I looked at it — was in Travis 
Jackson's handwriting. 

"Pardonnez moi. Monsieur Fritz et 
Monsieur Sam," I managed to say for 
the benefit of the butler; and ran 
precipitously out of the room, through 
the hall, up the broad stairs and into 
the chamber, where I have since penned 
so many of these words. 

Yes, it was as I had hoped. Travis 
had gone to the agent's in California. 
He had got my letter from Fresno. 
He had understood, he had forgiven, 
he had begged for my forgiveness. He 
would do anything that I wished. He 
would wait for me while I made my 
picture, while I tried my luck, grasped 
what might after all, be my chance, or 
he would come back for me at once. 
The agent was sure that he could get 
us the Orpheum time at the old sal- 
ary — perhaps at a fifty dollar increase. 
The great thing was to let him know 
at once. 

I looked at the post mark on the en- 
velope, and my heart sank. The letter 
was three weeks old ! 

THIS time, though, my mind was 
made up. I would not be diverted 
by convenient sophistry. I would drop 
everything and go. Now, before an- 
other minute should pass, I would tell 
Fritz, tell him that I must seek the 
man I loved. Letter in hand, I rushed 
to the top of the stairs. Below I could 
hear the masculine voices — Fritz's deep 
resonances, Sam's nasal twangs. 

"Okay, boss," the latter was saying. 
"When do we start to shoot?" 

"Tomorrow," replied Fritz Stresse- 
man. "She'll be made up and on the 
set at nine o'clock!" 

A slave! That's what I was. It all 
came over me as I stood there at the 
top of the stairs in the grandiose Holly- 
wood palace which was the symbol of 
my servitude. Hadn't this man bought 
me in the market place? Hadn't he 
taken me into his home and clothed me 
in fine raiment? Hadn't he made all 
the people of his kingdom bow down to 
me? Hadn't he spent fabulously of his 
fortune to make me what I was? 
Hadn't he given magnificently of him- 
self, his time, his strength — and asked 
nothing in return? His very kindness 
had entrapped me. 

(To be continued) 



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TOWER MAGAZINES 

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The Neic Movie Magazine, January, 193 It 



Whatever they are — about food, about 
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97 




c/fc MAKE-UP BOX 



• "I had to stay home from the office," 
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But when you "catch cold" these glands 
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98 




IP you're trying to decide just 
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mas check or are looking for 
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new body tint dusting powder 
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^PHERE'S a new dedorant stick 
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odor. Most women realize now 
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When you go shopping and must 
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WE'RE keeping the inventors busy 
giving us just what we want in 
the way of aids to beauty. Newest 
of the new in permanent wave ma- 
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saw the beautiful waves that emerged, 
we signed up for a wave ourselves. 



Deodoront stick in 
and white. 



black 



Powder, perfume and rouge in 
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""Si A permanent 
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ClLVER and deep blue, or pale blue 
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perfume in satin-lined boudoir cases. 

For further details including names 
and prices of the articles described 
above as well as other beauty news, 
send a stamped, self-addressed en- 
velope to Beauty Editor, Make-Up 
Box, Tower Magazines, 55 Fifth 
Avenue, New York, N. Y. 



The Neiv Movie Magazine, January, 193U 






Bing Crosby's 
Secret 

(Continued from page 39) 

I got back in America he had helped 

himself to a lot and he is not ready 

.p doint,' so by any means. 

In U'29 I met him at a party in Holly- 
wood. He and the other two Rhythm 
Boys, Harry Barris and Al Rinker, 
were out here to appear with Paul 
Whiteman in "The King of Jazz." That 
production was the last of a cycle of 
screen revues. It was almost as stu- 
pendous as the Boulder Dam and took 
nearly as long to be completed. 

I never saw it, having temporarily 
lost my enthusiasm for musical pic- 
tures. This year they have brought it 
out again. • The newspaper advertise- 
ments here on the Gold Coast read, 
"Bing Crosby in 'The King of Jazz.' " I 
believe that he only appears as one of 
the Rhythm Boys, but if he were just 
in the ensemble he would still get the 
billing today. The worst part about 
being the man of the present is that 
the man of the past is always being 
dragged in to take a bow or a slap. 
Bing's past rates mostly applause, I'm 
sure. 

THERE were a few months of "going 
Hollywood" and the party where I 
met him was right in the midst of the 
voyage. I still felt sorry for him, 
though he obviously was sitting on the 
crest of a wave of whoopee. He dived 
dlT before anyone could pull it out from 
under him. 

Bing, Barris and Rinker were the 
toasts of Hollywood. They were all three 
drinking toasts to most anyone. Night 
after night they were the life of those 
parties which must have life even if 
death follows disguised as lost prestige. 

Bing was singing divinely that night. 
Harry Barris was playing his own com- 
positions which a few months later be- 
came the songs of the hour, Al Rinker, 
less spectacular, but just as important 
in his own quiet way, was contributing 
his harmonious third to the trio, and, 
leaning on the piano with a sort of 
"They're not like this all the time" ex- 
pression, was a very pretty little blonde. 

She is now Mrs. Bing Crosby, the 
mother of the still-quite-new baby 
Bing. I spent my time between hang- 
ing on the piano and telling people that 
something ought to be done about 
those boys. It was clone very shortly, 
but not through any influence of mine, 
I'm sorry to say. 

Every night now you can tune in on 
KFI, our local station, and hear a 
cheery voice saying, "We are takine; 
you to the world famous Cocoanut 
Grove, the playground of the stars." 
Bands come and go. Phil Harris, Abe 
Lyman, Jimmy Greer and others. They 
are all good but most of the "world 
fame" credit must go to Gus Arnheim, 
who not only had a fine band at the 
Grove that eventful year but was ex- 
pert showman enough to grab the Three 
Rhythm Boys and inside of two weeks 
start featuring Bing Crosby as soloist. 

It was there that little Harry Barris 
dashed off song hits so fast that by the 
time you had memorized "Beside a 
Shady Nook," he had you humming 
"Just One More Chance." No sooner 
had you agreed to give up your Shady 
Nook for that One More Chance than 
it was "I Surrender, Dear," then "At 
Your Command." 

(Phase turn to page 100) 



What Jo-cur 

Did for "l>is4*oiii*:i!><'«l .IAXE 



1j i'm miserable .. . 

— I LOVE JACK. . . . 
6UT I DONT SEEM TO 
REALLY ATTRACT HIM. 
I MUST LACK A LOT 

OF SOMETHING , 





2 SH£ TRIES IT.' 



M 



DON'T BE SI LLV . . . 
YOU'RE SIMPLY A 
LITTLE CARELESS. 
WITH YOUR HAIR 
ESPECIALLY. WHY 

DONT YOU TRY 
! JO- CUR ? 



THIS IS THE MOST 
BECOMING WAVE I 
EVER HAD. ..AND TO 
THINK. THAT IT COST 
ONLY ABOUT 54 WITH 

JO-CUR! I ■ 
. HOPE JACK ( 
LIKES IT 



N' 



_5 



tonight! 

T 



YOU LOOK. WONDER- 
FUL! . .. AND LOvEL" 
hair IS IRRESISTIBLE 
1 TO ALL MEN ! - 



— 



Try Thin Xvtc W'arimj 
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J.HERE is now a remarkable preparation 
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Rememberthat JO-CUR is different from 
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3 THAT NIGHT- WITH JACK 



DARLING, YOUR HAIR ]_ 
IS SIMPLY GLORIOUS ^_ 
TONIGHT. I COULD SIMPLY F^ 

EAT YOU UP '....YOU J 

HAVE A WONDER- , r» 

FUL HAIRDRESSER! 



THANRS, JACK. 
DEAR! I WAVED 
IT MYSELF, WITH 
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The New Movie Magazine, January, 1931 



•.':' 



"Weep 

No 

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My 

Lady" 

OVER DULL, DRY, 
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Bing Crosby's Secret 



(Continued from page 99) 



That was just about a song hit a 
week, but I'm wondering now just what 
would have happened to those songs if 
it had not been Bing who sang them. 
They were lovely, but they have gone 
the way of many songs, while Bing is 
still starting every song he sings on the 
road to certain popularity. 

I believe Bing is just one of those 
chosen people who arrive to remain in 
spite of all efforts to find someone 
quickly to replace them. They tried 
to rob Bing of his place in the sun 
before he had even felt the full strength 
of its warmth. He was the rage of the 
Coast. Men liked him as much as 
women. That was a help when all 
around town parties would call off 
games, dancing, bridge and gossip to 
gather around the radio at eleven-thirty 
listening to Bing. 

When we heard he was going to New 
York it was really a blow, but we were 
reassured by the fact that he was going 
to broadcast from there. For several 
sad last weeks he was still here, saying 
a series of farewells, due to the fact 
that Gus Arnheim realized the "play- 
ground of the stars" was about to 
lose one of the chief interests of the 
stars and tried his very best to hold 
him. 

I'VE seen quite a bit of Bing during 
the last two years, both in New 
York and out here. He is modest, 
grateful and above all, humorous. He 
doesn't want to play the romantic 
lover. He likes light comedy which, 
to use his own phrase, "takes the curse 
off the crooner business." He has a 
new baby, a new contract, a new house, 
all acquired by his own efforts, but the 
foundation that made it all possible re- 
mains the same. 

He has no ambition to develop that 
voice into something bigger or change 
his style. He wants to hold what he 
has earned, the title of the world's 
sweetest singer. That's not his admis- 
sion, but it's my contention. Bing will 
do whatever he sets out to do. Be- 
hind the calm blue orbs there lies the 
fire that you hear in his singing, 
smouldering perhaps. But just try to 
put it out! 

As a proof of his "stick-to-it-iveness" 
I submit the following word picture . . . 
The island of Catalina, the Capri of 
California. Miss Janis, following the 
President's suggestion to spend, breaks 
out and charters a yacht. It is sword- 
fish time at the Island. Miss J. thinks 
she would be satisfied with a few 
mackerel but goes ashore to buy some 
heavy tackle just in case . . . Dinner 
on shore and the return to the yacht 
which lies at a mooring, probably say- 
ing to itself, "I hope she isn't going to 
start running me in circles after one of 
those (sea captain language deleted) 
swordfish." Seated on a bench near the 
club landing, alone, except for a two 
days' beard and a pipe, is a man. 
Miss J. doesn't glance at the lone figure 
until it rises and somewhat blocks her 
progress. 

Miss J — "Bing! What on earth are 
you doing here — er — I didn't know 
you — " Bing — (without a smile) "I'm 
after a swordfish. I've been trying to 
get one for three years. Every time 
I can get a few days off I come over 
here. I won't stop till I get one." 

Miss J— "But, are you all alone?" 

Bing— (Still smileless) "Yes! I 



couldn't get anyone to come with me. 
Dick Arlen's working, so's Jack Oakie. 
But I don't mind, I just go out with a 
fisherman and — " 

Miss J. — "How's Mrs. Crosby?" 

Bing — "Fine! I had a strike today; 
got him up to the boat and lost him. 
It was terrible. I — " 

Miss J. — "How's the new baby?" 

Bing — -"Swell! Did you see the fish 
Thomas caught today? Three hundred 
and forty pounds. It's hanging out 
there at the end of the pier. I was 
just out there looking at it — " 

Miss J. — "I hear you've just signed a 
new contract — " 

Bing — "Yeah! That guy landed that 
fish in twenty-eight minutes." (Our 
hero looked as if he was going to sing 
"Just One More Chance" any minute.) 

Miss J. — "Want to come out on the 
boat for a glass of beer?" 

Bing — (Looking at watch) "No! 
Thanks, just the same. It's nine- 
thirty; I've got to turn in. I start out 
at six in the morning — " 

Miss J. — (Very near tears) "Well, 
better luck tomorrow, Bing. I have a 
hunch you'll get your fish!" 

AND he did start out at six. I 
watched him go, though he didn't 
know it. At a little before noon I saw 
one of the fishing boats headed for the 
pier, flying the swordfish flag. With- 
out looking through the glasses, I knew 
that it was Bing. It just had to 
be. 

The Captain, my young man and I 
rushed to the pier to welcome the con- 
quering — and, I supposed, satisfied — 
hero. He was as calm as if he had 
been catching swordfish every day be- 
fore lunch for years. Everyone on the 
pier was apparently more excited than 
Bing. They dragged the monster onto 
the scales.' Bing watched intently. I 
didn't know that to receive the gold 
button from the Tuna Club, you must- 
land a two hundred pounder. 

I stood trembling with pride, think- 
ing Bing's fish must be the biggest 
ever caught. The scales registered one 
hundred and eighty-six pounds. The 
triumphant fisherman registered com- 
plete disgust. 

"But, Bing," I said. "Last night you 
were crying for a swordfish. Now 
you've got it, what more do you want?" 

"I want a button!" His white teeth 
clenched on the stem of his pipe. "And 
I'm going out again as soon as I get 
a cup of coffee." 

He fought the fish over forty min- 
utes. He was called back to work with- 
out getting that button, but when I 
saw him the other day at the Metro 
studios where he is playing with Marion 
Davies, he said, "I'm afraid the sword- 
fish will have stopped running by the 
time I finish here." He smiled in an- 
ticipation, as he added, "But there's al- 
ways a next time." 

My sympathy is with the swordfish 
or any other "poor fish" that thinks 
Bing won't eventually land him if he 
makes up his mind. He is that rare 
combination of gentleness and strength. 
Incidentally, I don't feel sorry for him 
any more, but I do feel sorry for the 
disgruntled sap who says that Bing 
Crosby is a temporary fad. If he is a 
fad, so is love; if he is temporary, so 
is music. Anyway, they're all three 
doing pretty well — so far. 



100 



The New Movie Magazine, January, 193 U 



Hollywood 
Day By Day 

(Continual from itiiij' 18) 

friends rallied to his defense with 

the argument that he wouldn't have 
been elected cheer leader if he was 
so terribly unpopular. The former 
peer of all kid actors is now nineteen 
and is five feet nine inches in height. 
And he is still growing according to 
all reports. 

SETS are being built at the Chap- 
lin studio but no camera cranks 
have been turned as yet. Charlie still 
says that he won't shoot until he has 
it all down on paper but those who 
know the famous comedian's impul- 
siveness and his dependence on in- 
spiration during the shooting smile 
at this. Charlie will have it all clown 
in black and white but he'll shoot 
ten times that much and will prob- 
ably emerge with an entirely differ- 
ent story. 

FRANCIS X. BUSHMAN who once 
told the world that he was not mar- 
ried — that was way back when he 
was hailed as king of the movies — 
is now thrice a grandfather. They 
say he doesn't like it either. But 
darned if I can see how he's going 
to get any relief. His oldest son 
Ralph, who is known on the screen 
as Francis X. Jr., has one child and 
his daughter Virginia, wife of Jack 
Conway, the director, has two of 
them. Another daughter Lenore was 
married this fall to a Los Angeles 
medico. Ralph is now employed 
by a Los Angeles business house, 
selling furniture or something like 
that. 

T) UTH CHATTERTON has kicked 
*^- over the traces and notified her 
bosses that she will no longer por- 
tray the character of a lady of more 
or less easy virtue. She was slated 
to appear as something of that sort 
in "Mandalay" and her refusal to do 
it resulted in quite a row until the 
producers finally gave in and slipped 
the nomination to Kay Francis who 
accepted, with pleasure. 

Wouldn't be at all surprised to see 
Jean Harlow adopt a similar stand 
next and who knows but what Mae 
West will insist upon playing Polly- 
anna roles after the public gets fed 
up on her invitation to "come up 
some time." But we really hope she 
won't do that. 

■p\ON'T be surprised to hear of that 
*~^ fine old stage star, William 
Faversham, signing for pictures. He 
is now visiting his son in Hollywood 
and occasionally reading over a part 
sent to him by some optimistic and 
hopeful producer. 

"Anthony Adverse" regarded as 
the best selling novel of the last 
decade is headed for pictures. War- 
ner Brothers will make it some time 
early this coming spring. 



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"DO UNTO OTHERS" 

( / HI5 will be the happiest Cnrist- 
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by using Christmas Seals on your 
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The New Movie Magazine, January, 19.34 



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You Must Come Over 



(Continued from page 60) 



Jack Oakie about their golf, and Frank 
Craven remarked, "Well, thank heaven, 
I'm younger than my score!" while 
Jack Oakie declared he would sell his 
game for a nickel. 

Mrs. Oakie told us about her trip 
east on the train with Maurice Cheva- 
lier, and how kind and thoughtful he 
was for her comfort. 

"At every station," she said, "he had 
to go out and take a bow, and he al- 
ways took me along. When anybody 
asked if I was his mother, he always 
said, 'No, she's my sweetheart!' And 
he saw to my comfort in every way. 
And all the kids on the train adored 
him." 

They brought the babies downstairs, 
finally, to be admired, and the Arlen 
baby was crooning happily. 

"t thought I was the only crooner 
around here!" exclaimed Bing. 

Stu Erwin said, "Look at the dog 
house out there, and nobody in it!" 

"Never mind," Russ Gleason ex- 
claimed. "Bing will be in it before the 
day is over !" 

Sue Carol was having coffee with 
Nick Stuart, and spilled a little of it on 
him. "I don't want him to look so 
nice!" she said. 

Mr. and Mrs. Harry L. Crosby, 
Bing's father and mother, had come all 
the way from Portland, Oregon, to be 
present at the christening and party. 

THE Puppets do give the most color- 
ful parties ! 
Take their progressive dinner party, 
for instance, followed by dancing at the 
Santa Monica Miramar Hotel, all in 



honor of Junior Durkin and his two 
sisters, Grace and Gertrude Durkin. 

The fun began at Helen Mack's home, 
with a cocktail party at five o'clock. At 
six Virginia Howard, Frances and 
Samuel Goldwyn's charming sister, re- 
ceived the Puppets at the Goldwyn 
home for the soup course. It was turtle 
soup, too! 

Seven o'clock found the Puppets at 
Tom Brown's place, enjoying Waldorf 
salad. 

The customary dinner at eight was 
enjoyed at Anita Louise's home, with 
filet mignon as the course. 

Nobody was permitted to eat dessert 
then, and at nine o'clock the Puppets 
found themselves at the Miramar, 
where they danced to Jay Whidden's 
orchestra, and between dances nibbled 
at ices and French pastry. 

Guests also included Ben Alexander, 
who brought Helen Mack, Howard Wil- 
son, who brought Patricia Ellis (Where 
was Earl Blaekwell? Why, with Bobbe 
Arnst, to be sure ! ) , Grace Durkin and 
Jack Hupp, Gertrude Durkin and James 
Ellison, Mary Blaekwell, Joseph Depew, 
Virginia Howard and Robert Horner, 
Violet Axzelle and James Bush, Jac- 
queline Wells and Maurice Murphy, 
Jane Barneberg and Frank Losee, 
William Janney, Henry Wadsworth, 
Richard Cromwell, and Junior Dur- 
kin. 

As there were more boys than girls, 
the boys waited patiently their turns 
to dance, or occasionally cut in. 

"I'm," remarked William Janney 
dolefully, as he munched at a cookie 
for consolation, "just a spare!" 



The Wonder Woman of 
Pictures 



(Continued from page 23) 



it through the line with a big, husky 
line-bucker like General Hugh John- 
son, he'll sneak around the end himself 
or shove it to a fast hip-weaver like 
that Chicago fellow — what's his name? 
Oh, yes, Ickes — Ick-kus you pronounce 
it. 

"But however he does it, Quarterback 
Roosevelt is going to make one first 
down after another until he crosses the 

goal line How I run along! All 

I meant to say was that they have got 
me talking on what my friend Al 
Smith calls the 'raddio,' bless him! 
And I love it! For two cents I'd leave 
the movies flat and go on the Mike 
Ch'cuit boosting the NRA and our 
great President. What a man! I 
used to think that Theodore was the 
bull of the woods when it came to 
Presidents, but this boy Franklin is a 
world-beater." 

MISS DRESSLER, who is your 
favorite screen actress?" 
"Oh, gosh! That's a tough one. After 
seeing my old trouping friend, May 
Robson in 'Lady for a Day,' I'm in- 
clined to hand the palm to her. But 
the studio woods are full of mighty 
good actresses — Garbo, of course, and 
Joan Crawford and Harlow and that 



little Miriam Hopkins, to name only a 
few. I like 'em all. 

"Garbo interests me because I don't 
think she is a happy woman. She's 
really very shy and the studio people 
have sort of let her spoil herself in 
some ways. When she got to saying: 
'Aye tank Aye go home, now,' they just 
gasped and let her walk out on them, 
and after she got home she didn't know 
what to do with herself. I'm interested 
to see what she does with 'Queen 
Christina of Sweden.' There was a 
character, that one. After turning her 
own country upside down, she made 
Rome howl for years." 

"Well, who is your favorite screen 
actor?" 

"Charlie Chaplin," she came back 
like a shot. "There's none like him, 
never was and never will be again. 
He has that lovely welding of pathos 
and humor, of tears and laughter 
which distinguishes only the greatest 
of comedians; that thing which the 
great French actor had, Coquelin who 
played 'Cyrano,' you remember. 

"I discovered when I was very young 
that the world wanted to laugh, and 
then I learned that laughter had to be 
forced out of most people. All laugh- 
getting problems are really simple, you 



102 



The New Movie Magazine, January, 193 It 



The Wonder Woman of 
Pictures 



know. I think up most of my business 
and then add a lot of spontaneous stuff 
that creeps in. 

"Then, too, my voire is never the 
I have a deep voice which I 

•urn on at will, but 1 have a lot 
of tones, for monotony is deadly. 
That's why so many woman radio 

kers are flops. They speak with a 
wearisome monotony of tone. You 
know, I had to learn to laugh, for I 
had hard going when I was a young 
girl, mighty tough sledding, and it 

a case of keeping my chin up and 
laughing out loud or else taking the 
count." 

THE telephone jangled. A secretary 
came in with the reminder that the 
Countess Somebody-or-Other was wait- 
ing to see Miss Dressier, and that half 
a dozen other folk were parked in the 
reception room. 

"Oh, tell 'em they have got to wait," 
said the gray-haired girl who makes 
the box-offices sit up and beg. "Now 
where was I?" 

"Away back at the beginning. And 
just where was that? Your name isn't 
actually 'Dressier,' is it?" 

"No. It's German. Koerber. Leila 
von Koerber, actually, although the 
'von' has been silent for some years. 
We lived in a little town in Canada 
called Cobourg, and there I was born. 
I got my teaching at home and then 
mother let me join a musical show on 
a road tour when I was only about 
fourteen. 

"My father had departed this world, 
leaving very little of value behind him. 
And it was up to me to hustle. The 
only stage training I had had, if you 
can call it that, was some experience in 
bareback riding which I had picked up 
hanging around the tent of a little 
traveling circus. My blazing ambition 
was to drive a chariot in the circus, 
and the circus people told me I would 
have to begin by learning how to ride 
bareback, the horse, you understand, 
not me. What's more, I did learn to 
stand on the back of a loping horse, 
learned it within three days — could do 
it now if I had to." 

MISS DRESSLER," interjected 
her delighted visitor, "that would 
be a sight worth going miles to see. 
If you ever put that in a picture, 
they'll trot out all the S.R.O. signs in 
America." 

"It's an idea, at that," returned the 
lady. "I guess I still know how to 
take a fall. I began to fall at the age 
of two, because I was big, even then, 
for a baby, and I saw that people 
laughed when I fell down. So I just 
naturally kept it up. When I wanted 
to drag out a laugh I took a fall. 

"I have fallen on some of the hard- 
est stages in the world and on some 
of the softest men. Why, do you know, 
I hadn't been on the stage any time at 
all when playwrights would come to 
me saying: 'Miss Dressier, I've got a 
wonderful play for you. You fall down 
in every act.' 

"My first salary was eight dollars 
a week. As far back as the year Bryan 
ran for President, I was making good 
money, and then typhoid fever slapped 



me down and nearly rubbed me out. 

"A few years later I was broke in 
London. Then 1 came back to New 
York in 'Tillie's Nightmare,' the most 
successful play I was ever in, the one 
I liked best. I got going again, and 
was hitting a lively pace, when I fell 
for the Florida real estate boom. I 
bought a home in Boca Raton and 
signed up for a real estate future. It 
was all beautiful until the big wind 
came along and laid us all low. 

"I have made three or four fortunes 
in my life, but I hope I'm on my last 
lap. The time may come when I will 
just want to sit around and watch the 
flowers grow. The time may come when 
I shall want to give whatever energy 
I have left to three things — the three 
things worth while in life — laughter, 
music and religion." 

MISS DRESSLER," said her visi- 
tor, "everyone knows that when 
you went out to Hollywood there 
wasn't any price at all on a stout, 
graying comedienne. No price at all. 
Everyone knows you had to scramble 
for a living when you went out there, 
taking minor parts when you had the 
luck to get them. How did you manage 
to ring the bell with such a whang?" 

"You know, looking back over my 
career, I can see that I was too homely 
for a prima-donna and to big for a 
soubrette. But the fact that I was 
never a beauty has always been an 
asset. The upkeep of my face has 
never been heavy. I have had no 
heartaches at seeing something vanish 
which I never possessed. 

"I have never had to park my face 
in a cold-cream jar. I never let a 
beauty parlor cramp my style. One 
doesn't need a permanent wave to get 
a laugh. As long as I can still do a 
fall or wear funny hats or button over 
my upper lip, I guess I can get by. 
Well, sorry you must go. Haven't had 
a nicer talk in many a day." 

"Nor have I," this writer returned 
fervently, "nor to a more charming 
woman. May your shadow never grow 
less, Tugboat Annie!" 

Forty-four years in the spotlight or 
the camera lights! Down, but never 
out! On the ropes, but never licked! 
The motion pictures have never known 
and cannot match the gorgeous success 
of this human woman. Going out to 
Hollywood when most elderly ladies 
would have been glad to take a load off 
their feet and settle down to their 
knitting, Marie Dressier has made her- 
self the great star of the cinema, the 
sure-fire box-office attraction, the Num- 
ber One Girl of the flickers. 

Only the other day a publication in 
Hollywood sent out a questionnaire to 
theaters all over the United States, in- 
quiring as to who had the greatest ap- 
peal to theatergoers of all ages and 
kinds. There were 3440 replies to that 
questionnaire, and, lo! the name of 
Marie Dressier, this sixty-two-year-old 
supreme artist, led all the rest. Far 
behind her were the youthful beauties, 
the swaying sirens of sex. And, nowa- 
days, when Marie Dressier so much as 
sneezes, there is a fever of fright in 
the front offices where the magnates 
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The New Movie Magazine, January, 193b 



103 




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Advance News 

(Continued from page 67) 



ZIP EPILATOR-IT'S OFF because IT'S OUT 
PERMANENTLY DESTROYS HAIR 



side, leading into a ship, you'd never 
believe you were not actually at the 
dock. 

One scene which you will see in the 
picture that was not in the script was 
taken while Miss Harding and Little 
Dickie Moore were fishing from a pier. 
Dickie accidentally fell off into the 
water and Ann fished him out. It 
fitted so well into the picture that the 
cameras kept on grinding and the 
scene left in. 

Dickie Moore's mother was on the 
side lines watching her precious off- 
spring, but never interfering. They 
say she is a perfect stage mother; she 
keeps herself so well in the back- 
ground. I asked her how she kept 
Dickie from becoming spoiled. 

"Well, maybe he is spoiled," she 
said, "but of course I think he isn't. 
He really is a good little boy." I asked 
her if it was true that she does not 
allow him to see his own pictures. She 
laughed. "I don't keep him from them. 
He refuses to go. Pictures bore him 
to death. He will only go to see 
Mickey Mouse." 

Meanwhile, Ann Harding, Otto 
Kruger (and how that chap has be- 
come a favorite almost over night ! ) , 
Betty Lawford, Janet Beecher and 
Theresa Conover — all very smartly 
dressed by Gwen Wakeling — were 
taking a vote on how to pronounce 
Maria, Miss Beecher's name in the 
picture. Should it be the old-fashioned 
Maria with a long "i" or should it be 
the more modern Mareea? You'll have 
to see the picture to find out; I couldn't 
wait. 

All the men in this picture have one 
thing in common and that is Miss 
Harding. They all fall in love with 
her . . . Clive Brook, who makes a big 
sacrifice to further her happiness; 
Tullio Carminati, who proposes mar- 
riage but enjoys a week-end trip with 
her instead; and Otto Kruger, who 
wants her to be a mother to his 
adopted son, Dickie Moore. 

IF you remember the play by Sieg- 
fried Geyer, you know what to ex- 
pect in the screen version of "By Can- 
dlelight," for F. Hugh Herbert and 
Hans Kraly have adhered strictly to 
the original theme in their scenario. 

The story is a delightful slice of 
continental life and has smart and so- 
phisticated dialogue and amusing situ- 
ations that lend themselves perfectly 
to the screen. 

Being a lady and also a good actress, 
the role of servant to a lady of high 
rank, who impersonates her employer 
during her spare time, is a natural for 
Elissa Landi. And when Nils Asther, 
a Count, exchanges identities with his 
butler, Paul Lukas, you may expect a 
good time. 

As I approached the set I saw Elissa, 
regal in a long black velvet evening 
gown and looking every inch the lady 
she was impersonating, lean over to 
pick up something from the floor. Nils 
Asther playfully gave her a little 
spank and, caught off-guard she gave 
herself away by exclaiming, "You must 
be off your nut!" 

There was a coffee percolator on the 
set for the convenience of the stars 
and people were continually asking 
James Whale, the director, who is 
English to his fingertips, to have some. 



Finally he burst out: "Thanks ver. 
much. I don't want any coffee, but if 
you'll bring around a dish of tea about 
four o'clock, I'll be obliged." 

Between scenes Lukas, a Hungarian, 
was trying to persuade Nils Asther, 
who is Swedish, to exchange a few les- 
sons in languages. 

ON another stage at this studio 
John Boles and Gloria Stuart 
were making "Beloved." Gloria was 
nursing a bruised nose when I ar- 
rived, having just been hit in the face 
by her hoop skirt when she forgot and 
sat down in a hurry. 

You will see John Boles in another 
role which takes him from young man- 
hood to the age of eighty years. Re- 
member him in "Back Street?" Gloria 
is at his side during most of the pic- 
ture, playing an older woman for the 
first time. Of course, with John Boles 
in a picture you expect music and you 
won't be disappointed, for the score 
and musical numbers are by Victor 
Schertzinger, who also directed the 
picture. 

"When I get that old make-up on 
feel a hundred," sighed Gloria, who 
looks about eighteen. It is small won- 
der that Junior Laemmle says "no" 
whenever she asks him if she may go 
to England to make one picture. She 
has been offered a guarantee of $3500 
a week for ten weeks, but Mr. Laemmle 
has refused, to date, to let her go. 

Gloria's trial separation from her 
husband, Blair Newell, is working out 
perfectly, she says. "We're not to- 
gether so much when we are tired," 
she explained, "and it has removed the 
strain. We have dinner together every 
night and we hope by the end of our 
trial year, to be living under the. same 
roof again." 

" ADVICE TO THE LOVELORN" 
l\ shows Lee Tracy in his most fa- 
miliar role, that of a newspaper re- 
porter. And he wears the same dirty, 
old hat that he always wears when he 
plavs a reporter. 

"Don't you think you should wear 
another hat?" asked the director, Al 
Werker. "That one looks pretty dirty." 

"No, sir," replied Lee. "I never saw 
a newspaper man yet wearing a clean 
hat. I've worn this hat for two years. 
In fact, it's the only hat I own and 
I'm going to wear it in this picture." 

In this story Lee has been banished 
to the Advice to the Lovelorn column 
as punishment for getting drunk and 
sleeping through an earthquake. He 
tries to get himself fired by making 
the column ridiculous — advocating free 
love, discouraging marriage and boost- 
ing cheap cosmetics for which a 
crooked druggist pays him — but his 
column boosts the circulation of the 
paper enormously and the managing 
editor only applauds his efforts. 

Isabel Jewell, playing the role of a 
girl who took his advice seriously and 
comes to no good end, tries to shoot 
him. 

This picture marks the return of 
Sally Blane to Hollywood and, al- 
though she admits having enjoyed 
making pictures in London, she con- 
fesses that she likes Hollywood best. 

Little Adalyn Doyle, Katharine Hep- 
burn's former stand-in and present 
protegee plays a telephone operator. 



104 



The Neiv Movie Magazine, January, 193A 



Along Came Bill 

(Continued from page '■'■' i 



Boots Mallory was searching desper- 
ately for an antidote to the many de- 
pressing difficulties that so cluttered 
her daily existence. 

Finally she found the answer within 
herself — poetry. Her first book is be- 
ing published under the title of "Brown 
Autumn." You may have read her 
poem, "Fool That I Am!", previously 
published, but it's improbable that 
while doing so you realized just how- 
fortunate it was that Boots finally 
learned that great spiritual consolation 
may be derived from pouring the 
troubles anil doubts of one's heart and 
soul into writing. 

BORX Patricia Mallory in New Or- 
leans, La., she soon evinced talent 
for entertaining. As a kid she zipped 
off neat tap dances at amateur affairs 
or startled the audience with her ex- 
pert banjo playing. 

Just where she acquired her talent 
is a mystery both to herself and her 
family. Her mother was in no way 
connected with the stage, and her 
father was a tugboat captain. Talent, 
nevertheless, she had. She couldn't 
have been more than fifteen or sixteen 
when she took off for New York and 
became the wife of a musician. 

In order to eke out their income, 
Boots modeled all day for art photog- 
raphers, dazzled the bald-headed row at 
the "Follies" in the evening and spent 
the rest of the night dancing and lead- 
ing an orchestra in a night club. The 
late Florenz Ziegfeld called Boots the 
most beautiful Follies girl since Do- 
lores Costello; she was, however, a frail 
child, never strong physically. She 
should have been forced to ease up the 
terrific pace she had set herself; she 
should have rested occasionally, taken 
life less intensely, even though it 
necessitated her and her husband par- 
ing down their living expenses to the 
minimum. In spite of increasing lassi- 
tude and strange, unaccountable dizzy 
spells, Boots kept on . . . and before 
long her health cracked under the 
strain. 

"When a doctor told me that if I 
wanted to live even a few years longer 
I'd have to skip my night work and go 
West," Boots recently recalled, "I 
thought the end had come. And, truth- 
fully, I didn't much care if it had." 

MUCH to Boots' surprise, the end 
hadn't come; for Winnie Shee- 
han, Fox executive, spotted her in the 
Follies, and apparently agreeing with 
Ziegfeld as to her beauty, gave her a 
contract to appear in Fox pictures. 

At first she was infinitely happy. 
Gradually, however, she discovered that 
intensive work before the cameras and 
the duties of a potential movie star 
were as gruelling as her previous jobs 
in the East. She wondered vaguely if 
her health could stand it, and, if so, for 
how long. At this point unhappiness 
precipitated a crisis in her marital af- 
fairs. 

This hectic period was not without 
its effect on her health. Anjemia 
weakened her to a point where it was 
utterly impossible for her to stand the 
studio work. Time and again she 
fainted on the set, unintentionally hold- 
ing up production. And these fainting 
spells grew more frequent. 

I shall never forget one afternoon 
at my apartment while a crowd of 



. scattered about the room, were 
chatting merrily. 1 suddenly noticed 
Bootsie sitting on the arm of a chair, 
staring at me in a dazed sort of a way. 
She gave me a queer, faraway smile; 
then, as her eyes rolled in their sockets, 
she keeled over and landed plunk on 
the floor. Having never before seen a 
woman faint, I was panic-stricken. I 
thought she was dead. 

Frantically, Tom Brown — I believe it 
was — and myself lifted her to a couch 
and someone applied a cold towel to her 
forehead. Slowly her eyes opened, and 
with a wan smile, she apologized and 
tried to wisecrack our fears away. 
"Don't mind me," she whispered. "I 
faint often. It's one of my more amus- 
ing habits." An hour later she fainted 
again. 

Needless to say we drove her home. 
The next day friends convinced her 
that she had better go to a hospital 
and let the doctors see what they could 
do about it. Boots reluctantly agreed 
to think it over. First, however, she 
had to make a retake at the studio. 
Somehow she managed to hang on to 
herself until the scene had been shot. 
Then she told the studio officials she 
would be unavailable for a few days. 

"But where can we find you in an 
emergency, Miss Mallory?" they in- 
quired. 

"In the hospital," said Boots. 

SHE went on the operating table, and 
she stayed on it two solid hours un- 
der ether. When I finally got her nurse 
on the phone I was told that "Miss Mal- 
lory is doing as well as can be ex- 
pected . . ." That, of course, might 
mean anything. Nevertheless, for the 
next three days this answer was all the 
satisfaction Bootsie's friends received 
from the hospital. 

Finally, a day or so later, at mid- 
night, my phone jangled. Sleepily I 
reached over and answered it. "This is 
Miss Mallory's nurse ..." a voice said. 
And before I could ask any of the ques- 
tions that ominously crowded through 
my befogged brain, another voice 
caught up the conversation. A weak, 
faraway sort of a voice. "Hy!" it said. 
"This is Mallory!" 

"Hv yourself!" I said. "How do vou 
feel?" 

"Terrible!" said she. "But I've writ- 
ten a poem. Listen." 

So she read me a poem in that faint 
voice of hers while I strained to catch 
every word. The poem sounded swell 
to me. The title was "Fool That I 
Am!" 

Although her poems were written in 
a mood of temporary despair, you'll 
find them devoid of bitterness. True 
enough, you'll discover that her sense 
of humor is equal to the task of laugh- 
ing at herself, or rather of smiling at 
herself and at the restless self-impor- 
tance of humanity; but underneath 
them all you feel a wistful longing . . . 
and this briefly is the true Boots. 
Being disturbingly honest with herself 
as well as with everyone else, she ad- 
mits she wasn't quite sure what she 
wanted out of life . . . perhaps a new 
peace and happiness, some never-ex- 
perienced joy, a new love. . . . Because 
of this vagueness, she simply and 
charmingly dedicated her book "To a 
Desire". ... A throbbing, haunting de- 
sire. . . . And then, as Bootsie would 
have you know: "Along came Bill!" 



Don't Neglect 
a COLD 




# Distressing chest and throat colds — that 
so often lead to something serious — usually 
respond to the first application of good old 
Musterole. Still more effective if used once 
every hour for 5 hours. Musterole brings 
relief naturally because it's a scientific 
"counter-irritant" — NOT just a salve. It 
penetrates and stimulates circulation, helps 
to draw out congestion and pain. Recom- 
mended by doctors — used by millions. Three- 
kinds: Regular Strength, Children's (mild), 
and Extra Strong, 40(" each. All druggists. 
Hear "Voice of Experience" — Columbia 
network. See your newspapers. 




A NMAUT HOTEL IN ATLANTIC CITY 

The ST. CHARLES 

On the Boardwalk at New Jersey Avenue 

European or American Plan. French and 
German cuisine. Sun deck. Boardwalk 
porch. Dancing:, Concerts. Entertainment. 
A stay nt the St. Charles inn ken line's 
visit to America's Smartest Resort 
altogether delightful. 



(jomQto NEW YORK? 





StopataHEWttotei 




where luxurious sun- 
filled rooms offer every 
convenience and comfort. 
Private bath. Radio. Ser- 
vidor. Rates that begin at 
$3 for one — #4 for two. 



C.W.RAMSEY, Jr., Mgr. 

^Governor 

5gS 



Clinton 



1200 Rooms * 7th Ave. at 31st St 



The New Movie Magazine, January, 193J, 



105 



New Pictures You Should See 



but a good story. Miss Twelvetrees 
seems cursed by an unbroken run of 
poor scripts. Her ability as an emo- 
tional actress deserves something bet- 
ter. In "My Woman," her bad luck 
still holds, despite fine support from 
Mr. Ford and Victor Jory as the faith- 
ful and unrequited lover. 

High Spots: Aspiring radio per- 
formers, shaking in terror before the 
microphone. . . . The buck-passing 
agility of studio executives faced by a 
difficult problem. 

Before Dawn — C 

Directed by Irving Pichel. Released by RKO 

THIS film has been taken from a 
horror tale by Edgar Wallace and 
all of the original author's dexterity 
has been left behind. Whatever it was 
in print, on celluloid it sounds just 
plain silly. 

Frank Reicher, a veteran of the stage 
and the sea captain in "King Kong," 
always gives a praiseworthy perform- 
ance. Warner Oland is famous for 
his smoothly villainous portrayals; 
Stuart Erwin, who plays Dwight Wil- 
son, a detective, is reliably amusing. 
Dorothy Wilson, as Patricia Merrick, 



(Continued from page 35) 

a clairvoyant, is more than adequate 
and Dudley Digges as her scoundrelly 
father brings to his part the same 
skill that he displayed as Smithers in 
"The Emperor Jones." 

Assembling them for "Before Dawn" 
is rather like asking the architects of 
the Empire State Building to knock 
together a woodshed. 



Keep This List for Your 

Reference Guide to the 

New Pictures 



ROMAN SCANDALS— (United Ar- 
tists) — Eddie Cantor as an awe- 
■" struck modern suddenly transport- 
ed back to pagan Rome. Beautiful girls, 
chariot races, Roman pageantry, music. 
Ruth Etting sings. (Dec. release). 

A MAN'S CASTLE— (Columbia)— 

Loretta Young and Spencer Tracy in a 
tender romance. Much of the action 
■takes place in New York City along the 
historic Hudson river. (Dec. release). 



New Movie's Review and Forecast 
Bulletin Mailed Direct to You 

The New Movie Magazine offers to its 
readers a fast, current and practical Review 
and Forecast Bulletin Service. 

These bulletins, mailed to readers who write 
in for them, will give you — 

1. A forecast of the forthcoming pictures, 
their titles, casts, plots, unusual situ- 
ations, interesting news connected with 
the productions, and all other data of 
special interest about individual pictures. 

2. Reviews of pictures already released 
previous to the current issue of The 
New Movie Magazine. These will give 
not only the opinions of the staff re- 
viewer of this magazine, but will also in- 
clude whatever information is available 
upon the box-office or artistic success of 
the pictures reviewed. 

3. Changes of titles, changes of produc- 
tion plans, changes of casts, included in 
either the Bulletin itself or supple- 
mented by a loose-leaf service. 

This is a service designed specially for the 
constant movie-goer — in other words, the fan 
— who desires to have, for reference, in handy 
form, a complete and compact record of film 
production of the season, past, present and 
future, something particularly valuable to 
keep before you to plan and choose your film 
entertainment. 

The cost of the Bulletin wilt be ten cents. 
Address your letters requesting these Bulletins 
to the Review and Forecast Editor, in care of 
The New Movie Magazine, 55 Fifth Avenue, 
New York, N. Y. 



DESIGN FOR LIV- 
ING — (Paramount) — 

Re-written from the 
stage play, by Noel 
Coward. The screen 
version is by Ben Hecht 
and Ernst Lubitsch. It 
concerns the tangles in 
the life of a girl who 
can't decide between 
two men. She marries a 
third man to get away 
from it all. Women 
liked the stage play 
better than men and it 
is probable that they 
may like the screen 
treatment better, too. 
Gary Cooper, Fjredric 
March, Miriam Hop- 
kins and Edward 
Everett Horton carry 
most of the footage of 
the picture. (Dec.) 

HOOPLA— (Fox) — 

Clara Bow's second 
starring picture since 
her return to the 
screen. It is a story 
of the World's Fair in 
Chicago with Preston 
Foster, Minna Gombel 
and Richard Cromwell. 
Clara is "Little Egypt," 
the dancer. (Dec.) 

BOMBSHELL— (M- 
G-M) — An hilarious 
picture concerned with 
the life of a somewhat 
dizzy motion picture 
star. Jean Harlow, as 
the star, and Lee Tracy, 
as her press agent, 
keep the action moving. 
If you are sentimental 
about Hollywood this 
picture might offend 
you — since so many of 
the incidents are taken 
from life. (Dec.) 



BLOOD MONEY— (United Artists) 

— George Bancroft, back to the screen 
again, in the role of an underworld 
leader who has great influence over 
politicians. Judith Anderson, Chick 
Chandler, Frances Dee and Blossom 
Seeley are in the cast. (Dec.) 

DANGEROUS TO WOMEN— (Uni- 
versal) — Formerly titled "Kid Gloves' J 
■ — Chester Morris as a prizefighter. 
Helen Twelvetrees, Alice White and 
John Miljan aid in the unfolding of the 
story. (Dec.) 

ANN VICKERS — (RKO) — Irene 
Dunne as Ann in the powerful and 
dramatic story by Sinclair Lewis. 
Some of the harshness of the book has 
been smoothed over in the picture. 
(Oct.) 

ONE MAN'S JOURNEY— (RKO)— 

Lionel Barrymore has the role of a 
country doctor whose failure is in 
reality his success. Joel McCrea, Fran- 
ces Dee, Dorothy Jordan and May Rob- 
son are also in the cast. (Oct.) 

I LOVED A WOMAN— (WFBN)— 

The romance of the meat-packing in- 
dustry unfolded for you by Edward G. 
Robinson, assisted by a cast including 
Kay Francis, Genevieve Tobin and J. 
Farrell MacDonald. (Oct.) 

LADIES MUST LOVE— (Universal) 

— There are enough laughs in "Ladies 
Must Love" with June Knight, Mary 
Carlisle, Lucille Gleason, Dorothy Glea- 
son, Sally O'Neill, George E. Stone and 
Neil Hamilton. (Oct.) 

TOO MUCH HARMONY — (Para- 
mount) — Bing sings and there is com- 
edy and action by Jack Oakie, Skeets 
Gallagher, Harry Green, Lil Tashman, 
Ned Sparks, Judith Allen, Kitty and 
Shirley Grey. (Nov.) 

WORST WOMAN IN PARIS— (Fox) 

— The worst woman in Paris becomes 
the best woman in Kansas and the most 
misunderstood woman in the world. 
Benita Hume, Adolphe Menjou, and 
Harvey Stephens (first picture, "Paddy 
the Next Best Thing.") are in the cast. 
(Nov.) 

I'M NO ANGEL— (Paramount)— An- 
other Mae West with Cary Grant again 
in support. Mae wrote the story her- 
self. (Nov.) 

WITHOUT GLORY— (RKO) — Con- 
nie Bennett as a woman spy, with Gil- 
bert Roland in support. Connie sings. 
There is a large foreign cast assisting. 
Connie wears some swanky clothes. 
(Nov.) 

THE WORLD CHANGES— (WBFN) 

— Paul Mun% of "Scarface" and "Fu- 
gitive" fame, and a cast headed by 
Aline MacMahon, Guy Kibbee and Mar- 
garet Lindsay. (Nov.) 

THE CAT AND THE FIDDLE— 
(M-G-M) — From the stage success. 
Jeanette MacDonald and Ramon No- 
varro are teamed, the background is 
the Paris Latin Quartier, there is 
haunting music and a sparkling ro- 
mance. 



106 



The Neiv Movie Magazine, January, 193 U 



%othe^.u'fiatsfiaif 



4. 




F OR CMItD«EH 



^KwiTq^; 




r>> 



TINY TOWER 

55 Fifth Avenue, New York, N. Y. 

Enclosed please find $1.00 for which enter 
my subscription to TINY TOWER, to begin 
with the Christmas Number. Please address 
the magazine to the child whose name is 
written here: 



u^e do now , 



This persistent childish question is 
answered in a brand new kind of 
monthly magazine for very young 
children which is making its first 
appearance December 1. 

No more wondering what to do! Tiny 
Tower, this new and only monthly maga- 
zine for younger children, is simply full 
of things to do. Amusing things. Inter- 
esting things. Helpful things. 

It's full of games and songs and cut- 
outs. Brimming over with picture stories 
and rhymes. Also confidentially, a page 
on etiquette and geography, but so 
amusing that they'll love it. Why, the 
whole magazine is so much fun that once 
you see how much your youngsters enjoy 
it, you'll never allow them to miss a copy. 

GIVE IT FOR 
CHRISTMAS 

Look for Tiny Tower in the F. W. Wool- 
worth stores and on convenient news- 
stands, 10 cents each copy, or send 
$1.00 (postage is free) for a year's sub- 
scription. Coming so near Christmas, 
lots of you mothers will surely want to 
give it as a lovely gift. To see the chil- 
dren happily and helpfully amused. Every 
page is in color — and there is a page of 
fun for every day in the month. 



Child's Nome Age. . . . 

Parent's Name 

Address 

City State. 







M. J. ("Mike") Thompson, foot- 
ball's most famous referee, is a 
steady smoker who has to keep 
healthy nerves. He says: 

"Because nothing can be al- 
lowed to interfere with healthy 
nerves I smoke Camels. I have 
tried them all — given every pop- 
ular brand a chance to show 
what it can offer. Camels don't 
upset my nerves even when I 
smoke constantly. And the long- 

Copyright, 1933, R. J. Reynolds Tobacco Company 



er I smoke them the more I come 
to appreciate their mildness and 
rich flavor. ' ' 

ft -ft -ft 
Many smokers have changed to 
Camels and found that they are 
no longer nervous . . . irritable . . . 
"jumpy." Switch to Camels 
yourself. Smoke them steadily. 
You will find that Camels do not 
jangle your nerves — or tire your 
taste. 



Fasten one end of a short string to a finger ring. Have a 
second person hold string at arm's length above shoul- 
der. The test is for you to make a full-arm swing down- 
ward and up... and try to put a pencil, held 3 inches 
from the point, through the ring. Good performance is 
being successful once in the first 3 tries. 

George Santelli. (Camel smoker) , champion fencer, 
did it on the first try. 



IT IS MORE FUN TO KNOW 



CAMEL'S 

COSTLIER 

TOBACC( 




Camels are made from 

finer, MORE EXPENSIVE 

tobaccos than any other 

popular brand. 




GRRBO'S TRIUmPHfinT RETURn 
TO THE SCREEH 











GRETA GARBO in "Queen 
Christina" with John 
Gilbert, tan Keith, Lewis 
Stone, Elizabeth Young, 
A Rouben Mamoulian 
Production, Associate 
Producer, Walter Wanger 






ing auur 
est screen f 
all time! Minn 
waited, and they \ 
be joyful that her fir., 
glorious entertainment 
"QUEEN CHRISTINA", 
a drama of exquisite 
passions, is unquestion- 
ably the most romantic 
story in which she has 
ever appeared. 





METRO • GOLDWYN • MAYER 



VWU/VUL. 



CLEVER GIRL 



SWELL SENSE OF HUMOR 



.BUT OH, HER TERRIBLE TEETH! 




P 



atricia is as witty as Broadway, and 
her laughter is as lilting as a gold- 
finch's song! She's grand company. 
But— there's a "hut" about Patricia! 



On skiis and on skates, Patricia skims ~% JT en bear aba 

along like a snow-bird! She's sparkling /I /I meet this u 

— amusing — she's fun ! But the "but" J 1/1 — they look 

about Patricia spoils many a "date"! X FJL "but" abot. 



bout I'aimia — and ask to 

illy girl. But they lisli n 

—and they leave. For the 

bout Patricia is her teeth! 




~*%Tf7"7'by has nobody told Patricia that A dentist would tell Patricia to clean f^oon enough — with Ipana — Pair 

I 1/ / tender gums — "pink tooth brush" / I her teelh and massage her gums — V would be attractive again when 

ly| /— can rob a girl's teeth of their sparkle / I with Ipana, which tones the gums as A laughed and when she talked. Pan 

JY —can rob her smile of its charm! ow JL well as brightens the teeth! ^J would be popular with men! 



nia 
she 
tcia 



DO YOL" — like poor Pa- 
tricia — have tender 



gams and dingy looking 
teeth which ruin your 

looks when you laiifdi or talk'.'' 

Your dentist knows a lot about 
gums! He knows that they need 
massage — with Ipana Tooth Paste! 
He knows that today's foods, so 
deliriously creamy and tender, do 
not exercise the gums or give them 
the stimulation they must have to 






slay hard and healthy. He knows 
that unexercised gums tend to be- 
come llahhv and often In bleed. 

Ask him about "pink tootli 
brush"! He'll soon enough tell you 
that it may dull your teetli — that 
it may lead to gum troubles such as 
gingivitis, Vincent's disease, and 



THE"IPANATROUBADOURS"ARE BACK! EVERY 
WEDNESDAY EVENING . . . 9:00 P. M., E.S.T. 
WEAF AND ASSOCIATED N. B. C. STATIONS 

IPANA 

TOOTH PASTE 




even pyorrhea — thai it 
may actuall) endanger the 
soundest teeth. 

Don't be like Patricia. 
Today — get a tube ol Ipana Tooth 
Paste, and begin to care for your 
unhealth) gums as well as for your 
teeth. Clean your teeth with [pana, 
and with a little extra [pana on 
your fingertip, massage your gums. 

Your teeth will brighten as your 
gums become (inner. 



BRISTOL in I RS I . Depl. 1 -i RR 

. w.i Street, New York, X. Y. 



Kin.llv lend n.r I hull liil.r ..I" H'W \ 

mol II PAST! I ncl I . .. ■••■ lllmp " 

i.. eovoi pftrtlj ll.r coll of parking mul mailing. 

Xttmc 

Mr.. I 

Cily Slow 



The New Mori, Magazine, February, 1984 



THE 



New Movie 



VOL. IX, No. 2 



One of the TOWER MAGAZINES 



CATHERINE McNELIS, Publisher HUGH WEIR, Editorial Director 



MAGAZINE 



FEBRUARY 1934 



Cover Design by Clarke Moore 



EATURES 



Nothing But the Truth 27 

I Loved Garbo Hubert Voight 30 

Forecast for 1934 Ramon Romero 32 

Meet Max Baer Eleanor Packer 36 

The Inside of the Hollywood Social Game 38 

Out of the Magic Mirror Virginia T. Lane 40 

She Can't Make Up Her Mind Terry Ramsaye 41 

Mae West's Perfect Day Dorothy Manners 42 

Hollywood's Cocktails Nanette Kutner 44 

Close-Ups 46 

Hollywood Slave 60 



D 



EPARTMENTS 



Hollywood Day by Day Nemo 6 

New Films in the Making Barbara Barry 16 

New Pictures You Should See and Why 

Frederic Van De Water 50 

New Movie's Hollywood Fashions 54 



ON 

SALE 

THE 1st 

OF EACH 

MONTH 



Music in the Movies, 12. . . . People's Academy, 14. . . . Movieland Goes 

Partying, 53. . . . Go On Growing Healthy, Baby LeRoy, 62. , , , She 

Studied to Be a Dentist, 64. 



Published Monthly by TOWER MAGAZINES, Inc., '4600 Diversey Avenue, Chicago, 111. 

Executive and Editorial Offices: 55 Fifth Avenue, New York, N. Y. - Home Office: 22 No. Franklin St., Wilkes-Barre, Pa. 

Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Cal. 

Address all correspondence to Tower Magazines, Inc., 55 Fifth Avenue, New York, N. Y. 
Do not send any correspondence to our publication office at 4600 Diversey Avenue, Chicago, 111. 



OFFICERS 

Catherine McNelis, President 
John P. McNelis, Vice-president 
Theodore Alexander, Treasurer 
Marie L. Featherstone, Secretary 



Copyright, 1034 (Title Keg. U. S. Pat. Off.), by Tower Magazines, 
Inc.. in the United Slates and Canada. Subscription price in 
the U. S. A., $1.00 a year, 10c a copy; in Canada, $1.S0 a 
year, including duty, 15c a copy; in foreign countries, $'2.00 a year. 
20c a copy. Entered a,s second class matter September 0. 1933, at 
the Post Office at Chirago, 111., under the Act of March 3. 1S7!I. 
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ADVERTISING OFFICES 
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^®p® ©if ms m©rua 



NOW ONE PARTY AFTER ANOTHER 

(since Lifebuoy ended "3.0. 'J 



PROUD OF ME THESE 
DAYS AREN'T YOU, BILLY ? 




The New Movie Magazine, February, 1984 



HOLLYWOOD DAY BY DAY 



(Continued from page 6) 
right boy. I can't get very excited 
over these child discoveries but when 
Frank Borzage raves about one, I'm 
willing to believe him. 

George's mother makes hats ' in 
the Columbia Studio wardrobe de- 
partment and George was on his way 
to meet her when he was hailed from 
the casting office. "Here is where 
you make your test," they called out 
to him. "I'm going to meet my 
mother," he replied and kept right 
on his way. They followed him up 
the stairs and obtained his mother's 
consent to let him make a test. And 
George stoutly declared all the time 
that he didn't want to be in pictures. 




Wide World 

This is little Sylvia Sidney who came, 

saw, and conquered Hollywood and 

then all America. 

SOMETIMES, of course, it works 
the other way. Isobel Jewell, a 
good little actress and a grand girl 
has had an uphill climb to get a toe- 
hold in pictures since she was taken 
out of "Blessed Event" on Broadway 
and brought to Hollywood to play her 
original role, that of the hard-boiled 
telephone operator, in the picture. 
From that time on Isobel played only 
small parts, and usually hard-boiled 
telephone operators, even after she 
was given an M-G-M contract. In 
"The Woman in His Life" she was 
given one of her typical bits. She 
was trudging across the lot the day 
before the picture was to start with 
her script under her arm when she 
met Louis B. Mayer. 

"I was looking for you, Isobel," he 
greeted her. "I'm going to take that 
part away from you." Isobel was 
about to cry when he added, "You 
are to play the lead in the picture." 

Isobel is particularly happy because 
her father is losing his eyesight and 
any day now may be the last day he 
can see his daughter. So every day 



he goes with her to the projection 
room to see the scenes run off that 
she has made the day before. And 
every day Isobel tries to show him the 
thing's he will soon be unable to see. 
That is the biggest reason she is so 
happy to have been given her chance 
now; so that her father will see her 
as a leading woman. And their friends 
will tell you that even before you read 
this, Isobel may change her name to 
Mrs. Lee Tracy. 



DO you remember a couple of 
months back ive told you the 
movies ivere going- to be cleaned up? 
Well, the cleaning process has begun 
but not just the tvay we or anyone 
else expected. The church had noth- 
ing to do with it. It ivas all brought 
on by the winners of one of Para- 
mount's semi-monthly beauty con- 
tests, this time for a picture called 
"Search for Beauty." A winner from 
every English-speaking country was 
brought to Hollywood. These girls — 
and boys- — came from, everyiohere 
from South Africa to Ireland; a lot 
of young, inexperienced and very at- 
tractive youngsters. Upon their ar- 
rival in Hollyivood they were turned 
over to a dance director for training. 




Wide World 

Dorothy Gish, star of stage and screen, 

with a charming outfit of green tweed 

with green knitted collar and hat. 




Irene Bentley of New York's smart 
social set, who would rather play in 
pictures. You will see her next oppo- 
site Victor Jory in "Smoky." 

About the third day } ivhen he was 
showing them through a dance 
routine, he thought they were not 
progressing fast enough. 

"Come on, you lugs," he shouted. 
"Lift a foot." And then followed 
more of the same and, as his pa- 
tience decreased he included some 
first-class stable language. The girls 
looked at him, looked at one another 
and, without a word, as one person, 
marched off the set. 

The next day they had a new 
dance instructor. 



THE stage is calling several Holly- 
wood people, among them bein? 
Franchot Tone and Joan Crawford. 
Franchot has permission from his 
picture boss to stay in New York 
long enough to appear in one play 
and he is advising Joan to get some 
stage experience. 

It may be just friendship between 
these two, as they insist, because 
Joan will not be free to marry any- 
one until April, but they do give 
each other nice gifts. Joan's latest 
gift to Franchot is a gold clip for 
paper money. On one end of it is a 
tinv watch. 



A* 



'aul Muni insisted that he 
would never settle down here. "I'll 
make some of this easy money and 
then go back to God's country (mean- 
ing New York) and live," he said. But 
recently he succumbed, like everyone 
seems to, and bought a walnut ranch 
in the San Fernando Valley near Hol- 
lywood. It has a comfortable country 
house on it and a swimming pool. He 
bought a horse to ride and, according 
to his own words, is trying to become 
a country gentleman. 

(Please turn to page 10) 



The New Movie Magazine, February, 193 U 






A BRIGHT NEW STAR 
FROM RED RUSSIA... 




Shooting Westward 

to kindle the 
A m t n ca n s c reen 



iv i t h a n e w fire I 



JiXaaiant 

ANNA STEN 



Hit American debut 




na 



I > a. si- 1 1 on Zolas jamous novel of the 
o on lev a ras ana the music halls of Jra r i s 

with 

LIONELATWILL » RICHARD BENNETT 

MAE CLARKE » PHILLIPS HOLMES 

and MURIEL KIRKLAND 



Produced and presented 



SAMUEL 
G O L D W Y N 

♦ 

Re/eased thru 
UNITED ARTISTS 







Thi- New Morir Magazine, February, l!).l.', 



HOLLYWOOD DAY BY DAY 



(Continued from page 8) 
C PEAKING of marriage, Lupe 
^ Velez is taking her role of Mrs. 
Johnny Weissmuller very seriously. 
Usually the life of any spot she hap- 
pens to be in, she is now playing tne 
demure, shy type of girl. One day 
recently an extra man on her set said 
to Lupe's maid: "Give me Lupe's 
telephone number. I ivant to call her 
up some night." The maid repeated 
his request to Lupe, who called the 
studio policeman and wanted to have 
the man arrested. He had been kid- 
ding, but take, my tuord for it, there 
was quite a row I 

Johnny has a unique method of 
subduing his little Mexican bride. 
(And there were some of us who 
thought — and hoped — that Lupe 
would never be subdued. It only 
shotvs rvhat love will do.) When they 
are out in public these days and 
Lupe shows signs of being herself, 
Johnny quiets her by threatening to 
call the elephants. If you saw and 
heard him in "Tar~an,"' you knoiv 
what I mean and why Lupe imme- 
diately subsides. 

Little Bobbe Arnst, who was the 
first Mrs. Weissmuller, sang "I'm 
Finished With Love" in "Beloved" 
with John Boles and Gloria Stuart, 
and she says she means it. Bobbe 
lives in the tiny apartment ivhere 
she and Johnny lived together. "It's 




May Robson gives little Spanky Mc- 

Farlane a boost on her shoulders on 

the M-G-M lot. 



Leila Hyams loves a hammock in her 

spare moments. She will next appear 

in "The Poor Rich." 



the only home I've ever had," she 
says. She has no car and when she 
gets work in pictures, gets around on 
a bus or street car. But she doesn't 
complain and sends every cent she 
can to her mother who is very ill in 
the East. 

• » • 
T3UBY KEELER and Al Jolson, 
••^ after five years of married life, 
are inseparable and seem to be hap- 
pier than ever. Recently Ruby was 
scheduled to broadcast and Al went 
with her to the station. The script, 
which had been carefully prepared, 
had to be rewritten because Al in- 
sisted on being in it. Finally they 
allowed him to do the laughing and 
clapping into the microphone at the 
proper times. 

a • • 

{T isn't only the stars who show 
temperament. Sometimes a director 
can give a first-class imitation of tem- 
perament and perhaps it isn't an imita- 
tion. I chanced on the Marlene 
Dietrich set the other day. The scene 
was laid in Russia. The ground and 
buildings were covered with snow. 
The trees had just enough of the 
fluffy white mixture hanging from 
their branches. Marlene rode onto 
the set in a sleigh pulled by two beau- 
tiful horses. Everything seemed per- 
fect, yet the director, Joseph Von 
Sternberg, was dissatisfied. The prop 
men shook in their shoes. Everyone 
on the set did a little quaking 1 . "What 
could be wrong?" they asked them- 
selves. And soon found out. The 
snow might look cold but it wasn't 
because it was only tons of cornflakes 
bleached snow-white. The air was not 
cold and so of course you couldn't see 
the horses' breath! 

Hours went by while everyone tried 
to think of some way to make steam 
come out of the horses' noses. And 
the problem was never solved, al- 
though I could have suggested that 
he invite Joan Blondell and Genevieve 
Tobin over on the set. I'm sure the 
temperature would have gone down to 
zero immediately. For ever since 




Three swimming champions in M-G-M's 
"Hollywood Party" — Aileen Riggin, 
world champion; Marjorie Lowe, Cali-| 
fornia champion, and Dorothy Poyn- 
ton, Olympian champion. 



those two blondes worked together in 
"Good-bye Again" there has been a 
terrific feud between them. Either 
one will walk a block to avoid the 
other, which is rather awkward inas- 
much as they are both Warner players. 

• • • 
ip VEN though she lost her eye- 
*- J brows, Joan says she enjoyed her 
recent fire thoroughly, and ivoidd 
like to have another. I understand 
the alleged controversy between Joan 
and Warners over changing her 
name to Joan Barnes was just a pub- 
licity stunt. 

And I promised not to tell ivho the 
blond actress is who threatened a 
walkout if she didn't get a big raise 
in her salary check. 

"What would you do without a 
job?" her boss asked her. "You 
couldn't ivork for any other com- 
pany?" 

To which the blond actress re- 
plied: "Oh, I'd study medicine." 




10 



The New Movie Magazine, February, 1934 



HOLLYWOOD DAY BY DAY 



1MET Claudia Dell on the 
the other clay and she immediately 
apologized for her eyebro 
couldn't see anything to apologize 
for. That is, I couldn't see any eye- 
brows and she said that was the 
trouble. There weren't any. Not 
l.upe got at them. It seemed 
Hial Lupe wanted to make Claudia's 
eyebrows a different shape but when 
she finished there wasn't an eyebrow 
in Bight. Poor Claudia has used 




everything that people tell her will 
make eyebrows grow, with no hope- 
ful results so far. She now threat- 
ens to try the woman who is bri Hir- 
ing back hope — and hair — to several 
male stars who have had to wear 
front-pieces. One of our most 
glamorous young male stars, who 
has had to wear a front-piece for 
a lout-' time, told me about her. He 
has discarded his false hair, thanks 
to her treatments. I am going to her 
Every week now, with such surprising 
results that I'm afraid Miss Garbo 
vi'ii't recognize me when we meet 
again. 



ONE day when I was having my 
head ministered to, I overheard 
a sweet young thing in the next booth. 
"Please, Mrs. Kerr, can't I have a 
malted milk today?" And apparently 
the answer was "no" for the pleading 
kept up. Presently from an adjoining 
booth Elsie Janis' voice called out: 
"Let her have a malted milk, if 




Here is Muriel Evans, popular M-G-M 
star, in a moment of relaxation. 

Bob Montgomery and Chester Morris 

are two of Hollywood's closest friends, 

with their friendship dating back to 

their early days of struggle. 

Edmund Lowe enjoys a cigarette be- 
tween scenes of "Bombay Mail." 

she wants one, you big bully!" 
Later I met Elsie and we exchanged 
beauty parlor secrets. She complained 
about the treatments. "For twenty 
years I've been able to make a funny 
noise with my neck," she told me. "It 
amused people. It was one of my 
best party stunts. But now they've 
taken all the creaks out of my neck. 
I'm not popular any more. I'm going 
to sue Mrs. Kerr and get my creaks 
back." 

I think it was a great day when the 
beauty parlors let us men in. When 
I have nothing else to do I drop into 
a beauty parlor. I hope none of my 
girl friends will think it is — er — un- 
usual. I go to be amused. Instead of 
dropping in to see a picture that I've 
seen made by every company at least 
once every six months, I go to a 
beauty parlor. It's more fun. I think 
some philanthropist should donate a 
building for an old story department. 
A place for those worn-out plots. 
After a plot has been used once, or 
maybe twice, by every company it de- 
serves to be retired. 



remarl said: 

■ - 

to '<■ 



TWn stenographers at the Para- 
mount Studio were conjecturing 
111 Mae \\ Which is a 

subject for conjecture everywhere. 
In fact, it is a Paramount question. 
In the midst of the argument the 




door opened and in walked Miss 
West's manager, Joe Timony. 

"Oh, Mr. Timony," gushed the 
dumber one of the two girls. 
"You're just the man we want to 
see. We were wondering how old 
Miss West is and you can tell us." 

Mr. Timony looked as though he 
were about to faint, whereupon the 
other girl said: "Oh, no, it wasn't 
Mae West. It was Mae Murray we 
were talking about." And with that 
Mr. Timony rushed out of the room 
and slammed the door. 

Tammany Young, who claims he 
knew Mae "when," declares she is 
not yet thirty-one and I'll say she 
doesn't look more. 

• • • 

CLARA BOW has recently moved 
into the house in Beverly Hills 
which was formerly occupied by Miss 
Dietrich. The first thing she did was 
to order all the bars taken off the 
windows. "I couldn't bear to be 
barred in," she explained. 




SOME of my girl friends tell me 
that Mary Pickford visits a 
beauty parlor every single day. i 
couldn't believe it until I began going 
la them myself, for tht re seems to bt 
vn reason for it. The ravages of 
time seem to skip Mary by «>id sin 
looks just as she did 20 years ago. 
Or maybe hitter. She made a wise 



o/' 



shooting of "Design for Living" which 

marks his first appearance under the 

direction of Ernst Lubitsch. 

Lew Ayres, Fox player, jumping the net 
of his tennis court. 




**« 



m 



Tin- New Movie Magazine, February. 1981 



11 




By JOHN EDGAR WEIR 




MUSIC 



IN THE 



MOVIES 



T] 
s 



in 



VHAT DALLAS MAN" from 

the Mae West picture, "I'm 

No Angel," is played in 

great style by Isham Jones 
and his orchestra, and certainly 
makes an excellent dance record. 
You'll find plenty of rhythm in 
this one, and it starts your feet 
tapping from the beginning. There is also some fine 
solo work, namely clarinet and tenor sax. 

The other side is from the same picture and is also 
played by Isham Jones and his orchestra. "I Want 
You, I Need You" is the title of this one, and it's a 
little more subdued. I think you'll like it. (This is 
Victor record No. 24421-A.) 

FROM the 20th Century film, "Broadway Thru a 
Keyhole," we get "Doin' the Up-Town Low-down" 
played by Joe Venuti and his 
Blue Six. This is played to a 
medium fast tempo, with plenty 
of fiddle work by Joe, and some 
swell bass sa:c stuff by Adrian 
Rollini. From a musician's stand- 
point, this one is hard to beat. 

"You're My Past, Present and 
Future" is on the other side, and 
it is played by Ben Selvin and 
his orchestra. This is more of 
a sweet tune, and affords an 
agreeable contrast. (This is Co- 
lumbia record No. 2834-D.) 



Mr. Weir tells you all 
about the newest tunes 
the movies and also 
on the records 



A WALTZ is next, and 



played by 
his orchestra. 



Don Bestor 
This one is 



it's 
and 
"To- 



BIGGEST HITS 



ThaE Dallas Man," fox EroE — played 

by Isham Jones and his orchesEra. 

(VicEor) 

Doin' Ehe Up-Town Low-down," fox 
EroE — ployed by Joe VenuEi and 
his Blue Six. (Columbia) 

TonighE May Never Come Again," 
walEz — played by Don BesEor and 
his orchesEra. (Victor) 

'I'm No Angel," fox EroE — played by 
Vera Van and her orchesEra. 

(Blue Bird) 



night May Never Come Again" 
from the picture, "Ladies Must 
Love." If you care for the three- 
four tempo, there's no reason why 
this shouldn't appeal to you. Neil 
Buckley sings the vocal refrain. 
The other side is also by Don 
Bestor and is a fox trot. "Deep 
in the Blue" is the title of it, and it has a real swell 
vocal chorus by Florence Case. (This is Victor record 
No. 24422- A.) 

TJERE is another from "I'm No Angel" and this 
*■ ■*■ time it's the title song, "I'm No Angel," played 
by Vera Van and her orchestra. You might almost 
say that this was a vocal number, because Miss Van 
holds forth the greater part of the recording. I think 
you will like this one very much. 

"I Found a New Way to Go to 
Town" is the tune on the other 
side, from the same picture and 
played by the same band. I en- 
joyed this one, and I think you 
will too. (This is Blue Bird record 
No. B-5208-B.) 






I 



FOUND A NEW BABY" is a 
vocal by the Three Keys that 
is very good. These boys sure 
can sing the licks, and the piano 
and guitar solo work is not to be 
sneezed at. This is plenty warm. 
On the other side the Three 
Keys sing, "You Can Depend on 
Me," although this one turns out 
(Please turn to page 74) 



12 



The New Movie Magazine, February, 193J t 



II 



I Get All My New Ideas out of 
these Tower Cook Books \" 




YOU know, my family thinks 
pretty fancy food nowadays, 
clever way of planning my meals 
my new ideas out of these Tower 

"Look at this page from 44 
Easy, Economical Dinners. 

Chicken liver canapes . . . from 
yesterday's chicken. I used to 
serve the liver with the rest of 
the chicken. Now I save it, add 
a chopped egg and out of 
practically nothing at all I have 
something exciting as a start 
for my dinner. It's amazing 
what a difference those little 
planned touches make in a 
meal! 

It's fun, too, cooking from 
this other book that has the 



they're getting Favorite Recipes of the Movie Stars. 

but it's only a The other afternoon I took the children to see 

And I get all Skeets Gallagher, and then that night made his 

cook books! favorite Souffle of Tomatoes — and did Jack 

and Betty like it! 47 movie 
stars tell you how to fix the 
dishes they like best. 



Tower Books, Incorporated, 
55 Fifth Avenue, 
New York, N. Y. 

Please send me 

□ 44 EASY, ECONOMICAL 
DINNERS, 

□ FAVORITE RECIPES OF THE 
MOVIE STARS, 

□ REDUCING THE RIGHT 
WAY. 

I am enclosing ten cents for 
each one I want. 



Cty 



"I'm sending this other book, 
Reducing the Right Way, 

to my sister. She's been put- 
ting on a lot of weight lately 
and has been looking for some 
menus that will help her reduce 
and yet give her all the foods 
she needs to keep her health. 
And that just describes these 
menus." 

IF YOU WANT THESE BOOKS 
WITH THEIR EXCELLENT MENUS 
AND RECIPES, FILL IN THE 

COUPON 



The New Movie Magazine, February, 1934 



13 








Esther Ralston has 
made one of the 
most definite come- 
backs attempted. 
She deserves the 
long-term contract 
which she has been 
awarded by M-G-M 



The PEOPLE'S Academy 



False Economy: Will you please help 
us here in Cleveland to force all the 
operators of movie machines to put 
more light on the pictures ? Surely all 
the pictures are not taken at night; 
well it looks like that in our local thea- 
ters here; they even put our President 
on as a colored man; they are so dark. 
We know it is the operators' fault, not 
the pictures or the directors, but' the 
operators. Please do something in this 
matter for my husband and myself; it 
is our only bit of pleasure. Do you 
think they are trying to save on the 
electric light bills ? Is that the rea- 
son? Because the prices are down, are 
we to suffer for that, when the pictures 
are too dark to understand or even see 
people's faces, only in a haze or a mist. 
It is time someone should see to it 
that a good picture is not ruined by 
too much economy in reducing the 
lights to deprive individuals who are 
willing to pay more and see the pic- 
ture as it comes from the directors 
to us. 

I am not writing this for your kind 
offer but to please do something for us 
in this matter soon. — Mrs. George Ed- 
wards, 4529 West 172nd Street, Cleve- 
land, Ohio. 

More Care, Please: Please! Oh, 
please! Are the "film cutters" trying 
to become Houdinis or just what is 
their ambition? If you've noticed (and 
surely you have) the peculiar circum- 
stances that our heroes and heroines 



THE NEW MOVIE MAGAZINE pays 
one dollar for every interesting and 
constructive letter published. Ad- 
dress communications to A-Dollar-for- 
Your-Thoughts, THE NEW MOVIE 
MAGAZINE, 55 Fifth Avenue, New 
York, N. Y. 



have been stranded in, in some of the 
recent pictures, you know what I mean. 
Recently when I saw the Carole Lom- 
bard — Gene Raymond opus "Brief Mo- 
ment" I was openly astounded to see 
one of the worst jobs of picture cut- 
ting- I have ever seen and to think 
that a producer would let such a one 
pass. In one scene, Carole is singing 
a song in a night club and is wearing 
a rather tight fitting, white satin 
dress. When she finishes her number 
she immediately walks across the floor 
to the other side where Gene Raymond 
is standing, but lo and behold she now 
wears a rather loose fitting, diapha- 
nous, and richly fringed dress. And 
if that isn't enough, when she gets to 
him and begins talking, she again has 
on the white satin one. This is only 
an example of what we often see in 
some of the best pictures. I can stand 
a poor story, or even terrible acting, 
but at least I expect the pictures to be 
technically cor- 
rect. — H a r r y 
Ormsby, 935 Yoke 
Street, Indian- 
apolis, Ind. 

More of Holly- 
wood : After see- 
ing "Blonde 
Bombshell," I am 
inclined to believe 
that at last there 
can be a cycle of 
pictures which 
will not raise a 
howl of protest 
from movie -goers 
— a cycle featur- 
ing the ordinary 
course of events 
in the lives of the 
busy bees out 
Hollywood way. 

I enjoyed 
every minute of 
the picture and 







Marie Dressier 
proba bly has a 
greater host of 
friends than any 
other screen player. 
Beyond the age of 
retirement, she's still 
going strong. 



"The gamest actress 
living" is the title 
applied to Blanche 
Sweet by her fans, 
who want her back 
in pictures. What 
about it, producers? 



14 



The New Movie Magazine, February, 193k 



if the happening in it an- a fait -ample 
of daily existence out there, Cm sure all 
of the workers deserve our sympathy 
ami sincere appreciation of their effi 
I \v..uld really like to see many more 
if the same type. Surely the 
; of material must be unlin. 
since stories of anybody and everybody 
connected with the movie industry— 
• tr.<, camerami • 
ad infinitum — would pro 
ly interesting. — Mabel Kramer, 905 
I.ydia Louisville, Ky. 

Permit Imagination: How disappoint- 
ing to me the ending of "Emperor 
To sit through a splendid pic- 
ture, feeling intensely the magnetic 

onality of Paul Robeson in his 
climb to imperial splendor, and then to 
suddenly feel that it all was as arti- 
ficial as the forest in which he agon- 
ized. I cannot say just why this part 
of the picture failed to become actual- 
ity to me, for many an actor alone in 

:ene holds an audience in his power 
as long as he chooses. I contrast the 

.• of "Maedchen in Uniform" in 

ii Manuela climbs to the staircase. 
But as for "Emperor Jones," I would 
prefer an ending with Paul Robeson 
starting toward his freedom, and leav- 
ing his fate to each person in the 
audience.— Miss T. A. Tester, 228 
Woolf Avenue, Iowa City, Iowa. 



For Peggy Shannon: 

us more pictures starring 



please give .. 
Peggy Shannon 



She 



Won't you 
.. stai 

has 




Another old-timer 
requested by movie- 
goers. The name? 
Dorothy Sebastian! 
Can she do a come- 
back? If given a 
chance, the fans 
promise support. 

Franchot Tone, the 
pride of Cornell and 
one of the finer ac- 
tors on the screen, 
needs a few good 
parts. Fans dislike 
the types of roles he 
has played. 




Genevieve Tobin 
has played so many 
cold, sophisticated 
roles in the past, 
that it is a relief to 
find her human in 
"Golden Harvest." 
Here is a girl who is 
climbing steadily. 



vivid personality it 
holds you spell- 
bound with adora- 
tion. Peggy Shan- 
non is a real hero- 
ine even off the 
n. Won't you 
all stand by her and 
give all her fans a 
treat? — Grace 
Seaver, 716 X. 
Laramie Avenue, 
Chicago, 111. 

Garbo , Hepburn. 
Wynyard: It seems 
so unnecessary to 
come forth in defense of Garbo. Those 
of us who adore her remain unshaken 
in our conviction that she is the great- 
est actress in the world today. Those 
who see her and feel called upon to 
criticize — well, that's their affair, isn't 
it? Tastes differ and those poor be- 
nighted souls who have never seen her 
and criticize on general principles, why 
say anything about them ? They very 
probably would not know enough to 
come in out of the rain. We en- 
lightened ones pity them and leave 
them to their ignorance. Garbo is in- 
comparable; that is all. 

I'd like to say a word or two about 
Katharine Hepburn. I like her, press- 
agented idiosyncrasies and all. I liked 
her in "Bill of Divorcement" and in 
"Christopher Strong" but I was dis- 
appointed in "Morning Glory." She 
played her part well, she's a grand 
little actress, but I prefer my Hep- 
burn straight instead of a hodge-podge 
of poor imitations of past and present 
geniuses. I think most of us could do 
without the Bernhardt coiffure, the 
gesturing of hands a la Duse, and last- 
ly, the little husky laugh in the manner 
of Garbo. Beware, Miss Hepburn, wo 
mad Garbo-worshipers resent any lib- 
erties taken with our idol! I'm pretty 
sure Katharine Hepburn is capable of 
giving intelligent 
interpretations of 
roles without drag- 
ging in bits of 
other person- 
alities. 

Just one more 
thing. What about 
Diana Wynyard? 
Can't we have an 
interview or at 
least a picture of 
her? I'm mighty 
keen about the 
"lovely, gracious 
lady" from Eng- 
land. If someone 
should ask me 
"What is a lady.'" 
my answer would 
be, "Diana Wyn- 
yard." I admire 
her tremendously. 
She is cultured 
and intelligent, the 
direct antithesis of 
the currently popu- 




The People's Academy of Motion 
Pictures (sponsored by THE NEW 
MOVIE MAGAZINE) will present 
twelve gold medals for what the 
readers of this magazine consider to 
be the twelve outstanding achieve- 
ments of the year 19 J 3 in the films. 
Letters from our readers, carefully 
tabulated, will be the sole guides to 
these awards. 

These letters may be addressed to 
either The People's Academy or to 
the Dollar-Thoughts department of 
this magazine, 55 Fifth Avenue, 
New York, N. Y. 

You are the judge and the jury. 
Write us what you think. 

The medals will be given for the 
following: 
1 — Best all-around feature picture 
2 — Best performance (actress) 
3 — Best performance (actor) 
4 — Best musical picture 
5 — Best human interest picture 
6 — Best mystery picture 
7 — Best romance 
8 — Best comedy 
9 — Best short reel picture 
10 — Best news reel picture 
1 1 — Best direction 
12 — Best story 



lar Mae West. Like a good wine 
after a sturdy draught of beer. 
No aspersions being cast on her 
or Miss West either. Seriously though, 
won't vou give us a little more of the 
lovely Diana?— Mildred M. Voo, 712 S. 
Westlake Avenue, Los Angeles, Cal. 

Ruth, Come Back: The selection of 
Evalyn Knapp for the serial, "The 
Perils of Pauline," was a great disap- 
pointment to me. Not because I dis- 
like Mi Knapp, but because I had so 
hoped that Ruth Roland would be given 
the part. 

There is nothing amazing about 
Ruth's hold on the public. Her fans 
have remained loyal Because they know 
that she appreciates their interest, and 
that if given the chance she will jus- 
tify their faith in her. — .Mary Lou 
Zebroe, 316 E. Del Mar Avenue, Pasa- 
dena, California. 



The Neiv Movie Magazine, February, lOJ't 



15 




All of the latest facts 
from Hollywood about 

the movies in produc- 
tion and those planne< 



Adolphe Menjou and Joan Blondell 
in "Convention City," a story 
one of those well-known busine 
conventions held in Chicago. It 
in the windy city that Menjou meet 



idy city tnaf Men| 
the blond Joan. 



Madge Evans and Nat Pendleton 
are bewildered by the antics 
Larry, Moe and Jerry, the thre 
stooges of Ted Healy, in "Free 
White and Desperate." You wou!< 
be, too, if you heard them. 



Advance News of Ne 



INSTEAD of following the line of 
least resistance, Cecil B. DeMille 
seems to take a strange delight in 
doing things the hard way. Or 
maybe the author, E. Arnot-Robertson 
is primarily responsible for the locale. 

"Four Frightened People" was made 
on the Island of Hawaii, and a com- 
paratively tough time was had by all. 
The drinking water, lacking in neces- 
sary mineral and iodine content, de- 
veloped boils on several members of the 
company; a script girl broke her leg; 
and, not satisfied with a dozen con- 
venient jungles, C. B. cut a brand new 
road up a steep mountain side, through 
miles of practically impenetrable 
jungle, coming out, at last, into a here- 
tofore undiscovered bamboo forest. 

The four frightened people are pas- 
sengers on a Dutch steamer when 
bubonic (if you know what I mean) 
plague breaks out and, under cover of 
darkness, the four slip overboard into 
a small boat and proceed to pull for the 
nearest shore, only to run into another 
plague, cholera. Pay your money and 
see what the boys in the back room 
will have! 

Claudette Colbert is a prim little 
school marm — the kind we haven't seen 
in many a day — wearing impossible 
glasses and a trick coiffure that prob- 



16 



ably accounts for the other three being 
frightened. 

The gal is absolutely safe until she 
breaks the glasses and has most of her 
clothes torn off in the trek through 
the big, bad jungle. Then, William 
Gargan, an adventurous newspaper- 
man, and Herbert Marshall, a rubber 
chemist who has left a nagging wife in 
New York (smart feller!) open then- 
respective eyes and — the rush is on! 

Mary Boland — and there's a trouper! 
— delegate to a birth control convention, 
rounds out the four. Captured by na- 
tives, she gives the brown-skin gals 
the low down on what not to do, until 
it begins to look so bad for the popula- 
tion that, in desperation, the local 
papas turn her loose, bribing her with 
presents and a dependable guide to go 
away from there. 

DeMille continues to be different. 
Instead of a super-colossal boudoir, he 
stages the Big Love Scene, between 
Colbert and Marshall, in the hand of 
a giant native idol — 40 feet high and 
weighing ten tons. What! No bath- 
tub?? 

Eventually, the four get back to civi- 
lization; Gargan to broadcast his thrill- 
ing adventures; Boland to carry on 
her birth control campaign; and Clau- 
dette and Marshall to live happily ever 



William Powell watches Bette Davis 

draw sketches, so important to the plot 

of "Fashion Plate," their latest picture 

for Warner Brothers. 



The 'New Movie Magazine; February, 1934 



i 



By 

BARBARA 
BARRY 



Another picture of the Eskimos. In 
"Man of Two Worlds," Francis 
Lederer gives no competition to the 
sex appeal screen idols. In the 
center would you recognize the late 
rave of New York? 



Here are four frightened people in 
Cecil B. DeMille's picture of that 
name. Mary Boland, Herbert 
Marshall, William Gargan, and 
Claudette Colbert dislike the snake 
in the wilds of Hawaii. 




Films in the Making 




Kay Francis becomes involved in many 

love affairs in "Mandalay." Here she 

is shown sending Ricardo Cortez away 

from the skylight. 

The New Movie Magazine, February. 1 !>.;', 



after, with the convenient elimination 

of the nagging missus. 

Plenty of excitement and interesting 
scenery. 

THE title of "Girl Without a Room" 
is irrelevant, but, Charles Farrell 
is out on his own again and doing very 
nicely, thank you! 

As an artist, with genuine possibili- 
ties, he crashes a colony of impecunious 
artists who paint "what they feel, not 
what they think" and, with all due 
respect to the moderns, sonic of them 
must have been feeling pretty punk. 

The setting is ultra-Bohemian. And 
author Jack Lait must know his Bo- 
hemia! Nobody pays rent, which is 
just dandy, and Gregory Ratoff is swell 
as the janitor who tries to collect but 
generally ends up by lending money to 
the smart youngsters, who must do it 
with mirrors. Or else our technique 
isn't what it might be. We must check 
with the director, Ralph Murphy, on 
this gentle art of persuasion! 

Charles falls in love with Marguerite 
Churchill, a model, while Grace 
Bradley, a Russian tamale, assuming 
that tlie gentleman from Tennessee is 
wealthy, sets her red head toward an- 
nexing the guileless Farrell for keeps 
or, until the cash runs out. 



I'nder Grace's seductive influence, 
Charles does some plain and fancy el- 
how-bending and, with the potent 
champagne as an indicator, proceeds to 
paint what he "feels." And it's no diffi- 
cult matter, believe me, to spot t ho 
hang-overs. 

Strangely enough, the painting is 
awarded first prize at an art exhibit. 
But, when Charles discovers that the 
mess has been judged upside down. 
you could sell him down the river for a 
bucket of anything you might name! 
Angrily, he refuses to accept the prize. 
and, because of this (and his general 
lack of cash) Grace throws him over, 
leaving the coast clear for a happj 
ending with Marguerite, who has 
nearly wrecked things by promising to 
marry a sympathetic contemporary of 

Mr. farrell. 
Charlie Ruggles injects plenty of 
;gles into his usual matchless char- 
acterization of the gentleman in search 
of a drink, and if you think he can't 
smell 'em out at a distance of anything 
under forty paces, you don't know 
Charlie! 

When the host asks if he can find him 
a drink, Charlie says: "Oh, don't 
h.it her . . . heh. heh . . . just put it 
any place. I'll find it!" 

(I'li-asc turn to page 96) 



17 



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you walk down the street — wher- 
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charm, your skin are judged by the 



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18 



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Copr 1933, Procter & Gamble Co. 



The Soap of Beautiful Women 

The Neiv Movie Magazine, February, 1934 






m 




THE NEW MOVIE 
MAGAZINE'S 

GALLERY 

OF 

STARS 



/"•LARA BOW — You will sec her again in the new Fox picture, 
"Hoopla." Flaming-haired Clara Bow bowed into a Brooklyn cradle. 
A beauty contest won her her first film role in Billie Dove's "Beyond the 
Rainbow." Scene cut because Clara's real tears ruined her make-up. 
So — back to business school for a while. Rediscovered by director 
Elmer Clifton and featured in "Down to the Sea in Ships." Success 
— amid rumors and romances. Married to Rex Bell. Retired for two 
years. Then resumed career under Fox banner. Has no superstitions 
but hates being called the "It" girl. So, please don't do it. 



The New Movie Magazine, February, 193 J, 



19 



Kenneth Alexande 



RADIANT 




LORETTA YOUNG — Gretchen's really her name. And she's still 
so Young — just turned twenty-one, in spite of a cinema career which 
dates back seven years. Now playing in Twentieth Century's "Born 
To Be Bad," with Cary Grant. Salt Lake City's her birthplace; Los 
Angeles her educational ground. Slender without dieting. Radiant 
without make-up. Wide blue eyes. Light brown hair. She's an 
ardent movie fan. Her favorites are Chatterton, Barthelmess, Leslie 
Howard and Constance Bennett. First entered pictures through acci- 
dent when her sister, Polly Ann, was unable to make a test for 
Director Mervyn LeRoy. Loretta, the youngest of three sisters, one 
of whom is Sally Blane, was the only one available and won the part. 
Loves pretty clothes. Keeps scrapbook containing everything ever 
printed about herself. Hates Brussels sprouts. Is no longer interested 
in matrimonial domesticity, she avers. Divorced from Grant Withers. 



20 



The New Movie Magazine. February, 1934 



BEGUILING 





Norma Shearer — Lovely lady from out of the Westmount, Canada. 
New York — not Hollywood — was the locale of her movie start, back 
in 1920. Louis B. Mayer of M-G-M saw her in a Western made in 
the East, and sent her off to Hollywood. There she met and married 
her production manager Irving Thalberg. Now there's Irving Jr. Her 
high-spot talkies: "The Divorcee," "Strange Interlude," and "Smilin' 
Thru." Next she'll offer "Rip Tide" with Robert Montgomery and 
Herbert Marshall. Then will come "Marie Antoinette." Swims well, 
is partial to small hats, eats yeast, speaks French well, wears her hair 
semi-bobbed and has a fascinating cast in one eye. Alluringly beautiful. 
Miss Shearer is one of the few women leading a professional life who 
has been capable of being a successful wife and mother at the same 
time. Holds the love of her public as Well as that of her husband and 
child. Deserves great congratulations. 



The New Movie Magazine, February. 193 It 



21 



She Does 



FLORENCE DESMOND— London's her birth- 
place and official home. But she's conquering 
Hollywood now in Will Rogers' "Dr. Skitch." 
She's the pretty hazel-eyed blonde who scored 
hit doing imitations on London stage of Banlc- 




22 



Florence Desmond as herself, and above, as Jimmy Durante. 

The Neiv Movie Magazine, February, 193b 



Th 



em 



Al 



head, Garbo, Dietrich, Durante, Dressier and 
others. Started pantomimic career at ten, 
drawing five shillings a week. Not new to films 
— played in some British ones. Fox scouts saw 
her, signed her and sent her to Hollywood. 




The New Movie Magazine, February, 193b 



ROMANTIC 




M-Q-.M 



Gable and Crawford — Clark's from Cadiz, Ohio. Joan hails from San 
Antonio, Texas. They're co-starred for you in "Dancing Lady," recently 
released by M-G-M. Clark sold ads and drilled oil before one- 
night stands landed him in Hollywood. Told he was too tall for 
films. Broadway beckoned. Played road show lead in "The Last Mile," 
reaching Hollywood again. Drew screen test. You know the rest! 
He's married, loves horses, and hates sham. Joan was dancing in 
Broadway show when M-G-M executive signed her for films. Rapid 
climb to stardom. Divorced from Doug Fairbanks Jr. Current b.f. is 
Franchot Tone. Red hair, blue eyes, passion for pickles! Is always 
losing gloves. Is never without pets, which include a marmoset and 
"Jiggs," a pure-bred bull. Franchot Tone is also featured in this 
picture. Joan has achieved whatever she wanted by sheer will power 
and plenty of hard work. 






24 



The New Movie Magazine, February, 193 b 



PATRICIAN 




Jack rrrmluh 



ELISSA LANDI — Daughter of nobility, born in Italy and reared in 
London luxury. This blond damsel started acting career merely 
to furnish local color for one of four novels she's written. Grew to 
love the profession and stayed with it — following London and 
Broadway stage triumphs with screen work abroad and in Holly- 
wood. Still writes between picture scenes. Her latest novel is "House 
for Sale." Newest film is Universale "By Candlelight" with Paul 
Lukas. Separated from British attorney husband. Prefers home life 
to cafes and parties. Is excellent horsewoman. Adores big dogs. 
Considers health exercises most important investment in the world. 
Favorite hobby is walking miles at a time. Leads a quiet life and one 
of few film stars who save their money. Is impulsive and positive. 
Versatile actress. Her mother. Countess Zanardi Landi, shares Elissa's 
Hollywood home which, incidentally, is next door to Will Rogers. 



The New Movie Magazine, February, 1984 



25 



EXOTIC 




HwreU 



MYRNA LOY — Real American girl, raised on a Montana ranch, 
despite her slant-eyed Oriental countenance. The late Valentino's 
ex-wife, Natacha Rambova, sponsored her career, first as dancer, 
then as movie actress. Played her first bit role in Rambova's "What 
Price Beauty" with Nita Naldi. Vamped her way to fame. Turned 
heroine in "The Prizefighter and the Lady," with Max Baer, and an 
excellent heroine she made. For the first time she was given an 
opportunity to display her histrionics. Myraa Loy is able to portray 
the emotions of any role given her — a thoroughly versatile actress. 
She has been scheduled by M-G-M to do "China Seas," with Clark 
Gable. We should all look fo.ward to this performance. It prom- 
ises to be a great treat. She's a redhead. Loves dancing. Collects 
paintings, sculpts, reads biographies, plays the piano, lives with her 
mother and says she's not a bit interested in marriage — yet! 






26 



The Nexo Movie Magazine, February, 1934 



New 



fVlOVie MAGAZINE 

1 ^\AJ 




VOL. IX. No. 2 



FEBRUARY 1934 



NOTHING BUT 



THE TRUTH 



CONTRIBUTORS TO THIS ISSUE: 

KING VIDOR, HOWARD DIETZ, ERNEST BOYD, LILLIAN GISH, ERNST LUBITSCH, 
TERRY RAMSAYE AND RAY LONG 



A PLAN FOR FINES PICTURES 



\<; AINST ALL-STAR FILMS 



BA T the office of one of the three 
AX. largest film, producing com- 
panies the other day I saw the 
sales figures of their most successful 
pictures for the past two years and 
was amazed that even the highly 
successful films had failed to reach 
the million dollar mark. 
Lillian Gish In the days of my own silent pic- 

tures one playing under the million 
dollar sum was considered a failure. Then I timidly 
asked the reason for this great decline that has sent 
so many companies into bankruptcy and they shook 
their heads. 

Why not try, I asked, the old methods of making 
pictures and instead of concentrating on what will 
make the most money and please the lowest intel- 
ligence, concentrate on making the finest, most beau- 
tiful pictures for the most discriminating audiences? 
When Griffith made "The Birth of a Nation" he 
dipped deep into his heart to make a thing so fine 
and so true that all who looked at it would be moved 
by its sincerity. We did not look down on our audi- 
ences but up to them and made our pictures out of 
a dream in our hearts to do something beautiful. 

Naturally, we hoped they would make money so 
we could go on making better ones, but money was 
not the main consideration — and it was this same 
spirit that sent the American silent film singing 
round the world. There are still men and women 
with conviction as deep and pride great enough to 
urge them on to make pictures with that same spirit. 
Why not try listening to them for a change instead 
of to exhibitors who insist that the only way to fill 
the theaters is sex and still more sex? Surely we 
are not such an inhibited nation as to exclude every 
other interest but that one thing! Why not try 
fantasy, satire, irony, whimsicality and the hundred 
and one other "do-nots" and see if we, the public, 
will not respond with gratitude. Honestly, we are 
hungry for something fine, thrilling and beautiful! 




H 



OW many stars should a pic- 
ture carry? Certainly no 
more than can find a legitimate 
place in the picture — and by this I 
mean a legitimate place for the kind 
3S of performance that the public has 

J^ jTai a r 'ght t0 expect from them. 

If the industry has reached a 
Ernst Lubiisch point where a production, in order 

to sell itself, has to carry an array 
of distinguished performers simply because they 
have big box office names for display on the marquee 
— and there is nothing else for them to do — then it 
is high time that the industry wakes up! Because 
if it does not do so, the public certainly will ! 

Big names may help to sell a picture once or 
twice — but they wiil not continue to sell it unless 
they have something to deliver — something that 
people will pay to see. 

Put Gary Cooper into a part where he has nothing 
to do — nothing that an unknown could just as well 
— and what happens? The people who go to see 
Gary Cooper do what they have been educated to 
expect from him are disappointed — and they have a 
right to be disappointed. Before long they will be- 
come rebellious. 

And then who will suffer? Not only the producer, 
but Mr. Cooper. The next time his name is shown 
in electric lights' people will stop to ask themselves 
if it is just another ballyhoo. 

I believe in stars. I believe in all of the stars that 
a picture needs. (And incidentally, they are worth 
all of the money that they are paid.) But I believe 
in playing honest with both the public and the 
stars. 

And it is not honest either to exploit a "multiple 
star" or "all star" cast of big names — with nothing 
for the big names to give to the audience. Even if 
a fortune is spent in the exploitation campaign! 



d^sJlX--*. o<^_ /l-^i-V%^_ 




/^I^C 




The New Movie Magazine, February, 1984 



27 



Are you reading NEW MOVIE'S editorial forum to which the best minds of 
movieSand are contributing? This is the first forum of its kind. 



AGAINST CYCLES IN FILMS 




o 



Ray Long 



|NE great boon which could 
come in the selection of stories 
for motion pictures would be a 
miracle which could overcome the 
tendency toward "cycles." To il- 
lustrate: 

"The Private Life of Henry 
VIII," produced in England, is a 
big success. In Hollywood today 
there are being produced biographies 
of Catherine the Great, Marie Antoinette, Elizabeth, 
and Christina of Sweden. Yet two years ago you 
couldn't give away a costume story. You and I will 
have an enjoyable evening seeing "Henry VIII." 
Let's assume that the next costume picture we see 
may be Catherine. If it's as well done as it should 
be, we should enjoy that. Not quite so much : pos- 
sibly, as we did Henry, but enough to make the 
evening well worth while. Then if Christina hap- 
pens to be the third, the chances are that no matter 
how fine a performance Miss Garbo may give, our 
appetite will have been dulled, and when we come to 
see Marie Antoinette I have a feeling that we shall 
be pretty well tired of costume pictures of any sort. 
Just as we tired of gangster stories and gangster 
pictures. The first gangster pictures were thrilling. 
The last ones just as good pictures — possibly better 
— but the freshness was gone. 

My connection with motion pictures has been too 
brief for me to suggest a positive cure for "cycles," 
but I know why it doesn't prevail in the magazine 
business. Each editor strives with all his might to 
make his publication as different from others as his 
ingenuity can devise. If one specializes in gangster 
stories, the others avoid them. If one stars a cos- 
tume serial, the others lay off costume serials. 
Instead of following each other, they make a point 
of individuality. 

Something of that sort, I believe, will happen in 
motion pictures. In all probability the way will be 
led by Darryl Zanuck. Whether or not you grow 
enthusiastic over "The Bowery" and "Broadway 
Thru a Keyhole," at least they are HIS pictures and 
they are good entertainment. I hope they may lead 
to a "cycle" of individualism, and if they do let's all 
join in three rousing cheers. 




THE WORLD NEEDS TO LAUGH! 

MY complaint is that the low- 
brow movie fan, like myself, 
seldom gets a square deal, even 
from Hollywood. My complaint is 
that the majority of pictures are too 
serious; at least, they are treated 
too seriously to be entertaining to 
me. This is evidenced by the grow- 
ing inability of Hollywood to pro- 
duce good comedy. 
Many of our best comedians make pictures, but 




most of the material is ghastly. Apparently, Holly- 
wood, in its way, is just as highbrow as the intel- 
lectuals. 

The master minds cannot bring themselves so far 
down to earth as to provide worthy material for 
Laurel and Hardy, W. C. Fields, the Marx Brothers, 
Smith and Dale, Wheeler and Woolsey, and others. 

Things like "Million Dollar Legs," despite its mis- 
leading title, are unearthed by a few cognoscenti, 
who chuckle over it for days, but first-rate comedians 
are left to struggle through inferior scripts and in- 
numerable shorts of unspeakable silliness. 

Yet, one would have thought that the universal 
fame and financial success of Charlie Chaplin, not to 
mention the drawing power of the comedians them- 
selves, would be enough to show that there are very 
tangible rewards for good comedy. 

If one-tenth of the time, money and effort ex- 
pended on putting over another cutie, or finding a 
vehicle for a straight or character actor, were given 
to the production of first-rate comedy and farce, ex- 
cellent results could be obtained. Whatever noble 
qualities Hollywood directors may boast, a comic 
genius is still lacking. 

Walt Disney remains the most consistently first- 
rate comedy entertainer freely available to movie 
audiences. Chaplin appears too seldom, and is a law 
unto himself. 




TOO MANY SUPERVISORS 




rp 



King Vidor 



Ernest Boyd 



1 OO much supervision is the 
-L principal curse of Hollywood 
— the one basic evil from which the 
majority of all other screen evils 
spring. It is too much supervision 
which has brought about the flood 
of inane, insincere, stereotyped pic- 
tures which actually are driving 
people from the theaters. 

And, in my honest opinion, super- 
vision is playing the same role in every other art 
and in many businesses. 

The motion picture industry is ruled by "business 
men" who are instinctively antagonistic to anything 
and everything which savors of originality. They 
have made Hollywood outlaws of those writers and 
directors who dare to discard the shopworn "box- 
office" tricks which have made money in the past. 

Hollywood should rebel — and will, eventually, if 
it is to hold its place as the entertainment capital of 
the world. 

We produce "rubber-stamp" pictures, not because 
the theater-goers approve of them, but because the 
financial czars of the movie industry demand them. 
They want to play safe. 

Under the present system of production, it is vir- 
tually impossible for a director to produce an en- 
tirely sincere picture. Pardon me if I cite one of 
my own pictures as an example: 



28 



The New Movie Magazine, February, 193 % 



Here you will find frank opinions expressed about films and people. NEW 
MOVIE invites contributions to this forum for free expression of thought. 



I intended "Hallelujah" to be an authentic picture 
of the negro's life in the deep South. I felt that there 
is heart-stirring drama in his emotional interming- 
ling of sex and religion, in his simple, superstition- 
ridden existence. I was afire with eagerness to paint 
him on the screen as he is — not as the mammy- 
singers of Harlem have "sold" him to their white 
audiences. 

I'm not particularly proud of "Hallelujah," for I 
failed in my purpose. The studio executives fought 
me on every turn — forced rne to compromise with 
sincerity. A New York composer of jazz was as- 
signed the task of writing the music. A Harlem 
torch-singer was given the leading role. The pro- 
ducers argued that the composer's mammy-songs 
had been best sellers, therefore they would guaran- 
tee the success of the picture; they argued that the 
torch-singer was "hot" and that the public liked 
sex stuff. 

Perhaps they were right; I don't think so. And, 
at any rate, "Hallelujah" became just another Holly- 
wood product instead of the sincere picture of negro- 
life that I had visioned. 

The recent condemnation of Hollywood's fabulous 
salaries has caused much heated argument. Wholly 
aside from the dollars-and-cents standpoint, I feel 
that Hollywood would produce better pictures if its 
stars, directors and writers were paid less money. 
As it is, their earnings are so great, that they are 
afraid to argue for their own convictions. They're 
afraid of losing their jobs, whereas they should be 
afraid of turning out poor work. 

Too much attention is paid to the importance of 
stars. Hollywood writes stories to fit its stars — and 
obviously it is impossible to tailor a story to fit a 
personality and at the same time p-eserve the story's 
integrity. 





TROUBLE-WITH-HOLLYWOOD NUMBER 203S1 

PHILO VANCE or Charlie 
Chan would come in very handy 

right now Having returned 

from my fifteenth annual trip to 
movie-land, I am again thrown into 
that recurrent barrier, to wit: How 
did Hollywood get its reputation as 
a den of sin? . . . What is it that 
makes the newspapers "hoke up" 
the place into a combination upper 
berth in a Chinese opium den and a disreputable 
house in Port Said where Dobbin is the gigolo? 

If anything, Hollywood is too pure. The people 
go to bed too early. There is little drinking and a 
great to-do about health, cold-water swimming, rid- 
ing, tennis, golf and other inventions of the sports 
writer. The women are true to their men, and do- 
mestic life is quite unpoisonous. 

They read too much, and the conversation is gen- 



Howard Dictz 



erally intellectual. As for work, most studio workers 
practically live in a studio. And easterners are given 
treatment that is too good. Dwellers in Hollywood 
seem to think that New Yorkers know more than 
they do, and they're so polite and hospitable to them. 
Try as I will, I cannot figure the thing out. Maybe, 
it's the clothes. When you visit the Riviera you sus- 
pect everybody you meet is a card sharp or a 
parasite. It's those blue linen trousers. So, in Cali- 
fornia, it may be the mufflers or scarfs that are worn 
instead of collars or the blue sports coats with brass 
buttons enveloping yellow turtle neck sweaters. 
Wicked, I call it. 





Terry Ramsayc 



PITY THE POOR ORPHAN! 

THERE'S a dance among the 
Latins called the Tarantella. 
It is prettier than its traditional 
history, tracing its origin and motif 
to the convulsive movements of one 
stung to the death by a tarantula, 
the great tropical American spider. 
The venerable art of the stage, 
the so-called legitimate, is now 
doing a very lively tarantella, with- 
out, it seems, any awareness that it is dying. The 
stage has been done in by the machine, the motion 
picture, spreading its filmy web to cover and possess 
all the world of the drama. 

The current manifestations are entertaining. Mr. 
George M. Cohan, forty years' on Broadway, is out 
with a plea that "they would go to see the old kind 
of clean show if it were properly done." 

Meanwhile, Mr. Eddie Dowling, actor and play- 
wright, sits in Long Island City presiding over a pic- 
ture producing project, the aim of which is really, 
as he says, "to siphon funds to keep the theater 
active," and "develop talent." 

All these die-hard patriots of the footlights are 
trying to reverse the processes of natural, inevitable 
evolution. They appear to think that the motion 
picture is a thing apart unto itself, constructed on an 
island of its own in time and place. 

But the truth is the motion picture has come to 
dominance because it has demonstrated its ability 
to do the job better and do it for more people for 
less money. 

The drama of the speaking stage will survive yet 
many a decade, no doubt, as the art of the few, just 
as horses survive in sport and in the industry of 
the race tracks. But in terms of the big amusement 
world now served by the talking screen, a stage show 
is about as anachronistic as a horse and buggy on 
the Lincoln Highway this afternoon. 




J £Uy ' Ctco^f 



6cyo^y 



The Krti> Murir Mtuiaziiir, February, lPJ.'t 



29 



Loved Garbo 

by HUBERT VOIGHT as told to GURDI HAWORTH 



HE sat behind his desk. On his wall hung a 
study of Greta Garbo, autographed by her. 
On his desk, a photograph of himself with her. 
"You want the story of Greta Garbo as I 
knew her ..." said Hubert Voight, veteran pub- 
licity man — the first man to welcome Garbo to 
America. "I don't know that people want to know her 
as she really was — and as she is. They prefer keep- 
ing her the world-weary Grusinskaya . . . but the 
Garbo that I knew is not so." 

I could not conceal my interest. . . . Here was 
someone who had been with her every day of the first 
six weeks that she had spent in America . . . who had 
eaten with her, taken her to theaters, laughed with 
her, joked her out of her famous moods. Here was 
one whose opinion of the "terror of all journalists" 
was worth while. 

"In August of 1925," stated Hubert Voight in a 
low voice, "I had just been given a job by the Metro- 
Goldwyn-Mayer Company as their news service man in 
New York. You know the sort of person who meets 
people coming in from the European countries and 
extends them welcome. 

"I was sitting in my office one day when there came 
a telegram which read : 

'STILLER ARRIVING GRIPSHOLM ACCOM- 
PANIED BY GRETA GUSTAFSSON MEET THEM 
AND EXTEND COURTESY.' 

"No more than that. I, only, knew about it. No 
one else cared. No one paid any'attention when I sug- 
gested a welcoming party . . . there was no fuss 
... no flurry. This girl was unknown here and cer- 
tainly not well known abroad . . . had I not been 



so young, so enthusiastic I would never have called 
the newspapers as I did, nor would I have hired a 
cameraman to go to the dock with me ... it was 
only to make an impression, that last, as I all too 
well recall ... I just wanted ten dollars worth of 
pictures. No more, no less. I had a young girl 
named Gympt go to the boat with me to act as in- 
terpreter. So Gympt, the ten-dollar cameraman and 
myself went down to the dock. 

"AS the boat came parallel 'with us, they started to 
"^ play the Swedish anthem. Something stirred 
within me. I had a sense of a thing inexplicable. I 
looked up at the top deck — I don't know why . . . but 
I looked up there and I saw -the loveliest young girl 
dressed in a suit of huge black and white checks. . . . 
I was thrilled. Beside .her stood someone massive and 
portentous in a heavy cap and heavy coat. 

"I turned to my cameraman and said, T don't give a 
damn whether that girl is Greta Gustafsson or not. 
... I am going to find out who she is.' 

"I ran as fast as I could up the gangplank with 
Gympt and my poor little man at my heels. . . . 
When I got up to the top deck, I stopped short. The 
girl in the check suit was gazing, enraptured at the 
skyline. And the Statue of Liberty. She was tearful 
with emotion. I spoke to the man. It was indeed the 
great Stiller. And this was his little protegee. Garbo 
turned to me. We were introduced. She smiled and 
said something in acknowledgment in Swedish. She 
had a lovely smile." 

Here my narrator became dreamy and quiet. After 
a moment he said : 




30 



Garbo and Mauritz Stiller as they were greeted on their first day in Hollwood. 

The New Movie Magazine, February, 193i 



The dramatic story of the young man who first welcomed 
Garbo to America and his experiences with the woman 
who was destined to make a world worship at her feet 




"She didn't say much. -lust kept looking at me 
round-eyed while I spoke with Stiller. Finally she 
turned to my interpreter and she said: 

"'Mr. Voight — tell him he looks just like Richard 
Barthelmess.' 

"Gosh, when she said that, I thought she was sim- 
ply swell. Anyway we stood there a moment and 
finally I thought it best to take them to a hotel, so I 
called an old cab waiting down below and drove them 
to the Commodore Hotel. ..." 



picture "Queen Chil 



He laughed hard and protractedly at thai recollection. 

THE Commodore's all right . . . but it is so funny 
to think of Garbo in an old cab in a black anil 
white cheeked suit going to the commercial place thai 
it was . . . you, know the sort of places the movie 
stars always go. ... 1 remember on the way there, 
she wanted to see the Woolworth Building . . . she 
had heard Of it and was so impressed when she saw il 

1 painted a swell picture (Please turn to page 86) 



The New Movie Magazine, February, /".,", 



31 



NEW 




By RAMON ROMERO 



THE year nineteen hundred 
and thirty-four looms upon 
the horizon of a weary world 
with golden promise. Great 
factory chimneys are smoking 
again after the longest period of 
idleness in the country's history ; 
forgotten men are finding their 
identities once more ; the vast, 
tragic army of the unemployed 
is marching to a new rhythm, 
whose sweet notes ring out the 
cry of victory. Thanks to Presi- 
dent Roosevelt and the NRA that 
victorious multitude is coming 
back to the movies, with money 
in their pockets and smiles on 
their faces. And Hollywood is 
ready to serve them — to give 
them the best in entertainment. 
New stars galore ! Old-timers 
back on the payrolls ! New oppor- 
tunities for new faces and greater 
ones for the old ! Colossal cos- 
tume pictures by the score, with 
magnificent settings and thou- 
sands of people in the casts ! 
Dozens of gay, dansable musicals 
to gladden hearts long depressed ! 
Broadway successes in celluloid! 
Great novels, recorded by the 
dozens, in the language of the 
screen, for all posterity ! Yes, 
yes, dark marquees are lighting 
up again, and thousands of girls 
in box-offices from one end of the 
continent to the other, are reflect- 
ing the new prosperity through 
thousands of little glass windows. 

A YEAR ago in my forecast for 
New Movie I made the pre- 
diction that 1933 would be the 
most critical year of the movies — 
a year that was to tell of survival, 
or economic chaos that would 
bring eventual destruction to the 
empire of talking shadows. Many 
times during the twelve months 
when the depression reached its 
peak, the whole industry has been 
on the brink, of ruin. Motion pic- 



l'Unto by D'Oaggeri 

RAMON ROMERO 




How about John Barrymore as 
Casanova? asks Mr. Romero. He 
is to ca-star with Katharine Hep- 
burn in "The Break of Hearts" 
which should be one of the film 
events of the year. 




Norma Shearer has an 
eventful year ahead of 
her. Mr. Romero makes 
a few guesses as to her 
future, which ought to be 
as brilliant this year as 
during the last two. 



Lilian Harvey would make 
a lovely Dolly Madison, 
says Mr. Romero. With 
her piquancy and charm, 
Miss Harvey has won a 
place for herself in the 
affection of film fans. 



32 



The New Movie Magazine, February, 1934 



What will happen to your favorites this year? Who will 

arise to dispute leadership with Garbo, West and Hepburn? 

Here are some highly interesting predictions 



ture theaters have been closed by the thousands. 
Studios slowed up production. Great stars failed to 
have their contracts renewed, and those that remained 
on the payrolls did so under penalty of the'gn 
salary slashing in Hollywood's history. New York 
bankers juggled the fates of great stars, din 
and executives as if they were so many rubber balls. 

have survived the juggling, but many have 
fallen by the wayside. Studio kings have been de- 
throned overnight. Stellar personalities like Colleen 
Moore, William Haines. George Bancroft, Charlie 
Farrell, Esther Ralston, Laura La Plante, John Gil- 
bert and many others have lost the title of star, and 
:ne cases have joined the ranks of supporting 

at the inevitable greatly reduced salaries. 
The executive ranks have 
shifted, too, with the regularity 
of desert sands. David Selznick 




Cloudette Colbert gave 
one of the best per- 
formances of the year in 
"The Torch Singer." She 
should go on to new and 
greater success during 
the next twelve months. 



The crooning Bing 
Crosby is to be starred 
in several musicals by 
Paramount. His films of 
1933 were among the 
most successful pictures 
of the year. 



has switched from RKO to Metro-Goldwyn-Ma 
where he is regarded as the new white-haired 
while Meriam Cooper has risen to executive he. 
RKO. Jesse Lasky, a real pioneer, has moved to the 
Fox lot, where he is making the finest type of 
tures on the market. His "Lower and the Glory" 
"Berkeley Square" are masterpieces. Some of his 
plans for 1934 include a marionette picture to be 
called "1 Am Suzanne!" in which Lilian Har\. 
stars with Gene Raymond, as well as "The Flight of the 
Swan." a story of the great dancer, Pavlowa. Mr. 
Lasky is definitely creating a Theatre Guild of the 
screen, raising motion picture art to a new high 
prestige. 

Darryl Zanuck, the mainstay of the Warner 
Brothers-First National lot de- 
parted unexpectedly from the Bur- 
bank studio toward the close of 
the year, and with Joseph Schenck 
organized a new company under 
the name of the 20th Century Pic- 
tures, which is expected to rank 
with all of the great major produc- 
tion units, eventually swallowing 
United Artists, the present chan- 
nel of release. Already on the con- 
tract list of the infant company 
are such gilt-edge names as Con- 
stance Bennett, George Arliss, Ann 
Harding (for one picture, "Gallant 
Lady"), George Bancroft, Fay 
Wray, Loretta Young, Constance 
Cummings, Arline Judge, Lee 
Tracy, also for one picture; while 
recruited from the Broadway stage 
are Judith Anderson, Blossom 
Seeley, Paul Kelly. Tullio Carmi- 
nati, Russ Columbo and others. 
The new company's fust picture. 
"The Bowery," starring Wallace 
Beery with George Raft and Jackie 
Cooper, is breaking records 
throughout the country, while the 
second picture, "Broadway Thru 
a Keyhole," a de luxe musical film, 
is claiming an overwhelming popu- 
larity of its own. Nineteen-thirty- 
four productions include among 
others, the Harding picture "Gal- 
lant Lady"; "Advice to the Love- 
lorn," with George Bancroft; 
".Moulin Rouge" with Constance 
Bennett; George Arliss in "The 
House of Rothschild" and "The 
Great Barnum"; also "Born to Be 
Had" ill which Loretta Young 
shares equal lulling with the popu- 
lar Cary Grant. 



AT Warner Brothers, Hal Wall is 
has stepped into Darryl Zan- 
uck's shoes, and has already created 
a great deal of favorable com- 
ment by the excellence of his 
productions, while working with 
him he lias Samuel Bishoff, for- 
merly of Columbia, who is in 
his own right a man with one 
of the finest picture minds in 

Hollywood. 



The Neiv Movie Magazine, February, 1934 



33 




What will happen to the IT girl in 
1934? Will it be a new stardom or 
oblivion? The future is in Clara 
Bow's own hands. It's up to her. 



Leslie Howard did fine work 
throughout 1933, notably in "Berke- 
ley Square.-' He has steadily grown 
in popularity. Is stardom ahead? 



Margaret Sullavan is looked upon as 

one of the few real finds of 1933. 

"Only Yesterday" established her as 

possessing rare promise. 



Emanuel Cohen remains in charge of all production 
at Paramount, while at Universal Carl Laemmle, Jr., 
will continue to carry on with his usual success. The 
personnel at Columbia remains practically the same, 
with Harry Cohn at the reins, 
still turning out a product that com- 
pares with the best of the com- 
petition. 

Last, but not least, there is the 
one and only Irving Thalberg. The 
real lion of the Metro-Goldwyn- 
Mayer lot has given up his throne 
as King of the Culver City dynasty, 
and will in future lend his bril- 
liant genius to only a limited- num- 
ber of specially supervised produc- 
tions, instead of dissipating it all 
on an entire program of fifty pic- 
tures. He now holds personal con- 
tracts with Norma Shearer, Helen 
Hayes, Elissa Landi, and intends 
during the year to build up a 
strong stock company releasing 
his productions through the organ- 
ization that gave him the oppor- 
tunities to rise to his high place. 
Among the contemplated produc- 
tions he plans to star Norma 
Shearer in a talkie version of 
Michael Arlen's "The Green Hat," 
which Garbo made in the silents as 
"A Woman of Affairs." Also a pic- 
turization of Noel Coward's play of the aftermath of 
war, "The Vortex," with Elissa Landi possibly doing 
the lead, and also "Stealing Through Life," a Folsom 
prison story. "Marie Antoinette" is listed as another 
Shearer role, as is "La Tendresse," in which Ruth 
Chatterton won fame on Broadway. His most ambi- 
tious productions, however, will be "The Merry 
Widow" probably with Jeanette MacDonald and Ramon 
Novarro, and the filming of "The Good Earth," which 
he expects to make on Chinese soil with an all Chinese 
east, in technicolor. 

DIOGRAPHIES will be all the rage during the 
JJ coming year, bringing into production the largest 
number of costume pictures ever before made in one 
single year. In the biographical cycle will be Garbo's 
"Queen Christina," an epic picture of historical 





I 



Max Baer may turn out to be the 
IT man of the screen. He stepped 
from the prize ring to establish him- 
self as an actor with one film. 



Sweden; "Napoleon," in which Edward G. Robinson 
will star, and whose script will be prepared by Emil 
Ludwig, already famous for his life of the little cor- 
poral. Marlene Dietrich will star under Von Stern- 
berg's direction in "Catherine the 
Great," in which she will por- 
tray the title role. Claudette Col- 
bert is scheduled to do "Cleopatra" 
for Cecil DeMille, and Katharine 
Hepburn will play the young- 
Queen Elizabeth of merry ole 
England in "The Tudor Wench." 
Fox plans "Mary, Queen of Scots." 
Norma Shearer will bring to life 
"Marie Antoinette." Universal will 
make "Sutter's Gold," telling of the 
gold rush days of '49, with Charles 
Bickford possibly playing Sutter, 
who discovered gold in California. 
Thus are the schoolbooks of to- 
morrow being written. 

Moving history up to a more 
modern day Wallace Beery will star 
as Pancho Villa, the notorious 
Mexican bandit, in "Viva Villa.'' 
Paramount will feature George 
Raft as the famous dancer, Mau- 
rice, in "Bolero," and Majestic Pic- 
tures will film the life of Isadora 
Duncan, from her book, "My Life." 
Charles Rogers will produce "Dia- 
mond Jim" with George Bancroft 
as the colorful man-about-town. Sam Jaffe is going 
to expose Hitler in "The Mad Dog of Europe," and 
Universal will glorify Ziegfeld, who glorified the 
American girl, in "The Great Ziegfeld," on which 
Billie Burke, his wife, collaborated. George Arliss is 
scheduled by 20th Century for "The House of Roths- 
child," in which he will give a screen portrait of the 
great money king. Gloria Swanson has been an- 
nounced for "The Great Sarah." a cinema biography 
of the immortal Bernhardt. Helen Hayes may play 
Elizabeth Barrett in "The Barretts of Wimpole 
Street." Jesse Lasky announces a life of Pavlowa, 
the queen of all terpsichorean artists, to be 
made as "The Flight of the Swan." British Interna- 
tional of England is making "Nell Gwyn" with 
Anna Neagle, who starred in "Bitter Sweet," and is 
soon to be imported to Hollywood. RKO is going 



34 



The Neiv Movie Magazine, February, 193k 




Hollywood is speculating about the 

cinematic future of Joan Crawford. 

Will she hold her place in popularity 

through the coming year? 



Wallace Beery has contributed a half 
dozen gorgeous performances the 
past year. Did you like him in "The 
Bowery?" 1934 looks good for him. 



Ruby Keeler will be co-starred with 

Dick Powell. Miss Keeler is one of the 

really promising girls of the screen 

and she can easily be a star. 



to release for a new producer a technicolor picture of 
the life of Johann Strauss to be known as "The Music 
Man." Metro-Goldwyn-Mayer will immortalize in cel- 
luloid the two thieves who died with Christ, in a pic- 
turization of the Komroff novel. 
"Two Thieves," reviving bibli- 
cal history on that lot for the first 
time since "Ben Hur." Universal. 
who own the rights to "Blossom 
Time" will probably film it during 
1934, thus adding still another fa- 
mous image to the long list, as 
Schubert, the beloved composer, 
figures largely in the plot. The 
best of all rumors is that Greta 
Garbo may play Jeanne d'Arc be- 
fore next Christmas rolls around. 

How about John Barrymore as 
"Casanova," Lilian Harvey as 
"Dolly Madison," Myrna Loy as 
"I.ucretia Borgia," May Robson as 
"Queen Victoria," Dolores Del Rio 
as "Lola Montez," Garbo as "the 
tragic Duse." Edward G. Robin- 
son as "The Great Mussolini"? 

Other costume pictures being 
prepared for early production arc 
"A Tale of Two Cities," Dickens' 
beloved classic of the French revo- 
lution, in which Warner Baxter 
will be seen as Sidney Carton. 
John Gilbert is to do the talkie 
version of "The Prisoner of Zenda," and Marion 
Davies will appear as a famous woman spy of the 
Civil War in the Robert W.Chambers novel. "Operator 
13." Frank Borzage will refilm "Show Boat" for Uni- 
versal, while Eddie Cantor skips back to the gay old 
Roman Empire in "Roman Scandals." The eternal 
"Alice in Wonderland" brings the cinema art into the 
realm of costume fantasy, and "The Count of Monte 
Cristo" balances the entertainment budget with ro- 
mance. Anna Sten, the new Russian star imported 
by Samuel Goldwyn two years ago, makes her debut 
at last, in a Parisian costume picture taken from 
Zola's novel, "Nana," to be followed by another. 
"Barbary Coast." Two pictures of the gay nineties 
are scheduled, "My Gal Sal" at RKO, with Dorothy 
Jordan in the lead, and Kay Francis in "The Hon-.' 
on 56th Street." 




Fay Wray is one of the competent 
leading women of films. Nobody 
had a more exciting time than she 
did as the heroine of "King Kong." 



TTHK tune factories of Hollywood's Tin Pan Alley 
*■ are humming with activity these days, for at least 
a couple of dozen musicals are in the offing. The list 
up to date includes Eddie Cantor in "Roman Scandals" 
and a pirate tale told with songs 
and girls; "Hollywood Party" 
in which M-G-M are featuring a 
galaxy of their most prominent 
stars and players; also from the 
same studio, "Going Hollywood" 
with Marion Davies, Bing Crosby 
and Fifi Dorsay. RKO will release 
"Flying Down to Rio" and a trio of 
tune tales with Wheeler and Wool- 
sey, o*ie of which will feature the 
radio songstress, Ruth letting. 
Paramount will star Bing Crosby 
in several, in addition to making 
"Funny Face," "The Search For 
Beauty." "We're Not Dressing" 
with Burns and Allen. "Sitting 
Pretty," and "Cloudy With Show- 
ers" from the Broadway show. 
Warner Brothers will make several 
co-starring Ruby Keeler and Dick 
Powell, in addition to "Wonder Bar" 
with Al Jolson Universal will pre- 
sent "Show Boat" with the origi- 
nal music, "Beloved" with John 
Boles and Gloria Stuart, and .Ian 
Kiepura, star of "Be Mine To- 
night" in several to be made in this 
country as soon as the Polish opera singer arrives 
from Paris, where he is now finishing a musical for 
Universal release, in which he is supported by Marian 
Nixon. Columbia is readying "Let's Fall in Love," 
in which it is planned to feature a new girl with the 
hope of creating a star. Metro-Goldwyn-Mayer has 
Jeanette MacDonald under contract tor five pictures, 
the first. "The Cat and the Fiddle," already completed. 
Miss .MacDonald may not do "The Merry Widow" 
according to broadcasted reports because Maurice 
Chevalier no like the competition. But she will prob- 
ably do "1 Roved an Angel." and it is rumored the 
operetta, "Du Barry," in which Grace Moore starred 
in New York. For the I. ion trademark Ed Wynn is 
making "The Chief," and .lack Pear] asks the 
public lo "Meet the I'.aron." Fox is casting for 
"Movietone Follies of 19"!." (Continued on /«>.</. '■'' I 



The New Movie Magazine, February, l :>.:', 



::.-, 




By 
ELEANOR PACKER 



MEET 



MAX BAER arrived in Hollywood, made one 
picture and departed. But, probably, neither 
Max nor Hollywood will ever be quite the 
same again. 
Motion pictures held no terrors for the big, black 
Baer of the prize ring. He slid into the life of the 
studio as easily as a duck slides into water. The day 
after his arrival he was as much at home as he is in 
his familiar training camps or in the four-cornered 
ring. 

"Of course, I'm not afraid," he grinned that first 
day on a sound stage. "What is there to be afraid of? 
All I have to do is to learn my lines, do what the direc- 
tor tells me and act natural." 

Then he aimed a few brisk shadow-boxing punches 




36 



in the direction of the camera which strikes fear into 
the hearts of many older and more experienced actors 
than Max. But not into the heart of the Baer. 

His absolute self-sureness was amazing. But more 
amazing still was the way in which he proved that he 
was right in being sure of himself. He was a constant 
surprise to everyone. When the director of his pic- 
ture, "The Prizefighter and the Lady," asked him if he 
thought that, in addition to his acting, he could do a 
few dance steps, Max didn't hesitate to answer. 

"Sure," he said casually, "if other people can dance, 
I can learn. There's no trick to taking a few steps in 
time with music." 

Wonder .of wonders, he proved that, so far as he 
was concerned, there was no trick to it. After a few 
lessons and rehearsals, he was step- 
ping right along with a troupe of 
chorus girls whose entire young 
lives had been devoted to the busi- 
ness of dancing. He even managed 
to execute some intricate move- 
ments with a skipping-rope, with- 
out missing a step or losing his 
rhythm. If you think it's easy, try 
it some time. But do it in the pri- 
vacy of your own room, because it 
is rather embarrassing to fall down 
in front of people. 

AFTER the studio executives had 
seen Max's success as a dancer, 
they decided to enlarge the se- 
quence in the picture in which he, 



Just before the fight in the new 

M-G-M picture "The Prizefighter and 

the Lady." 



The New Movie Magazine, February, 193J/. 



The amazing story of the prize- 
fighter who became a Hollywood 
star. Was there anything which this 
young man could not do? He 
grinned at cameras and microphones 
with the same nonchalance with which 
he faced his opponents in the ring. 



In this scene with Myrna Loy, Max 

Baer shows that he can love as well 

as he can fight. 




MAX BAER 



as the prizefighter, makes a vaudeville tour. They 
suggested, after some hesitation, that he might try 
a song. Just a short one, they explained. 

Max laughed. "I don't care how short it is, or how 
long. I'll sing it." 

So a songwriter dashed out a little number called 
"Lucky Fellow." And .Max sang it in a mellow bary- 
tone voice which stayed pleasantly in key. 

Everyone sat back and gasped. Was there anything 
which this young man could not do? Max, himself, 
couldn't think of anything. He grinned fearlessly at 
cameras, microphones, scripts, songs and dances with 
the same careless nonchalance with which he laughs 
at his opponents in the ring. 

The studio, the director and the other actors in the 
picture had been a little worried about Max's ability 
as a motion picture player. Hollywood had seen so 
many "big shots" from other professions — grand 
opera, radio, sports, musical comedy — turn out to be 
dismal failures on the screen. Max's first tests showed 
that he photographed well. He carried gracefully his 
six feet, two and one-half inches of height and his two 
hundred and three pounds of weight. His thick, curly 
black hair, plastered into smoothness with oil, glis- 
tened becomingly. His wide-set. dark-brown eyes and 
firm, white teeth were camera-proof. 

But mere photography is not all that matters. 
There must be at least a trace of acting ability. Max 
was the only one who wasn't worried. He knew that 
he could act. And he did. 

"I just forgot that the cameras were there," ha 
explained after the picture was finished. "I didn't try 
to act. I was just myself. That's what Van Dyke, 
the director, told me to do. It was easy." 

■pHE picture, of course, was tailor-made to fit the 
•*■ young man who is the most promising contender 
for the heavyweight boxing championship of the world. 
With a few slight changes, the story of the screen 
prizefighter might have been the story of Max's own 

The New Movie Magazine, February, 193b 



life, even including the part played by "the Lady" in 
his career. Grinning, unafraid, "cocky," the hero of 
the film smashed his way to success, just as Max has 
laughed his way from lowly athletic club preliminary 
bouts to a place near the top of the fistic ladder. 

Max, himself, wasn't discovered in a speakeasy as 
was his screen self. He really discovered himself one 
night when he was nineteen years old. I'ntil that 
memorable evening he had never cared about fighting, 
had avoided all fisticuffs. That night he was forced 
into a battle with another young man because no one 
so jauntily cocksure as Max could refuse a challenge 
when many bright, young feminine eyes were watch- 
ing. It took place, this history-making battle, at a 
Livermore, California, high school dance. And Max 
was a triumphant victor. 

"I had never realized before how much fun it was to 
fight, or how strong I was." he admitted. "It sud- 
denly dawned on me that fighting might be a good 
game. I had heard that there was plenty of money 
in it. I talked it over with my dad the next day and 
he loaned me the money to buy a sandbag and some 
ring togs and to pay my fees at a gymnasium in 
Oakland." 

Thus was born a prizefighter and a motion picture 
actor. Max stayed on the sidelines, watching the other 
fighters, afraid to step out on the floor before those 
veterans of many bouts. But no young man with 
Max's height and weighl could remain unnoticed long 

in the company of ring-trained men. A manager took 
charge of him. forced him to train, arranged his first 
bout with an Indian heavyweight, whom Max knocked 
out in the second round, and steered his colorful course 
from there to the "big tint •." 

"T LOVE to fight," Max said one day, his dintur- 
*■ coated figure pacing the door of a night club built 
on a sound stage. "The fight scenes in this picture 
made me homesick for the real thing. I'm counting 
the months until Primo (Please turn to page 84) 



::-; 



THE INSIDE 
OF THE 



Hollywood 



NO picture that is produced in Hollywood has as 
strange a background as the picture of its 
own social life. 

I was born in Virginia, where the sesame 
to the social door is the magic "F F V" — which, as 
you probably know, means First Families of Virginia. 
Society in the South is based on family. Everyone is 
an expert genealogist and can tell you (will tell you 
if you're not careful) who your mother is and your 
grandmother and your great-grandmother. 

In New York the barometer of the social scale, the 
basis of social position, is money. But high society — 
bored with itself — frequently goes lion-hunting among 
celebrities and struggles desperately for the biggest 
bag in the arts. As a writer, with several books to 
my credit, I was eligible for invitations. While wait- 
ing for my first play to be produced I was enjoying 
the thrill of the city and the novelty of Park Avenue 
society. When the play finally got on the boards, I 
was approached by a scout from a Hollywood agency 
for writers — "Authors' Representative," he called 
himself. He had wired Hollywood that the girl had 
talent and that it would be wise to sign her up before 
she got a swelled head. Hollywood responded nobly 
with a six months' offer. When the agent said, "Go 
West, young woman," I went. 

It didn't take me long to find out that in Hollywood 
the all important question which assesses social stand- 
ing is not, "Who are you?" nor "How much have 
you?" nor even "What have you achieved?" It is 
"How important is your job?" Your ancestors may 
have come over on the Mayflower, you may have 
J. P. Morgan's money and Eugene O'Neill's artistic 
success, but if you're not in a position of studio- 



political power, you just don't count on the Coast. 

I settled down in a charming little house that 
had an enchanting patio and a miniature swimming 
pool. At first the black marble bathroom shocked my 
conservative taste, but I put up with it because the 
rest of the place so exactly suited my needs. 

The first day I had two callers — an old Virginia 
friend who had married into one of the best Los 
Angeles families; and a member of the Hollywood 
firm of "Authors' Representatives." 

"Now look, Sally," said my friend, "even if you're 
working in pictures you can, with your family con- 
nections, get into the very best set in Los Angeles. 
Only, you must never go out socially with picture 
people. I wouldn't even mention, if I were you, that 
you have anything to do with the movies." 

"What do you mean?" says I. 

"Well," says she, "Los Angeles doesn't like the pic- 
ture crowd. They think it is common and vulgar. 
Most of the good clubs here .either have a blanket 
ruling against picture folks, or a restriction limiting 
the number who can become members. 

"That's absurd," I protested, "in this day and age — " 

"Wait," she interrupted, "you'll see for yourself." 

She gave a tea for me to which the best of Los 
Angeles were invited. What I saw that day, and later 
days at other Los Angeles functions was an aris- 
tocracy based on oil, beef and real estate. Hollywood's 
aristocracy is based on the picture business. Yet 
Los Angeles struts in her superiority and snaps a 
snobbish finger at Hollywood. 

Maybe I'm stupid, but I can't understand why oil, 
beef or real estate wealth should be rated higher class 
than movie money. 




A visiting author gives the low-down on movie 

society where your position depends upon the 

importance of your film job 



Even weddings are staged in 

Hollywood. These are heavily 

publicized; crowds gather and 

push into the church. 



Drawings by 
\ John Held, Jr. 




38 



The Neiv Movie Magazine, February, 19SU 



Social Game 



/% 






T1IK next advice I was offered came from my agent. 
It was simple and direct. "You've got to play the 
(Tame out here," he t. »1<I me. 
"Whal 'I " > ou mean?" 1 as 

"Well, you 3ee," he explained, "an awful lot of busi- 
er at Hollywood parties. It is impor- 
if you want to succeed, to know the right people. 
Y<>u've got to entertain and be asked places. You've 
be seen around at openings and prize fights 
and all the places where the important people go." 

I couldn't grasp it all thai first afternoon, and my 
head was a bit dizzy from the advice I was getting. 
"But damn it all!" I answered sharply. "I've 
I out here by such-and-such a studio because of 
my work. I can't see that my social life is anybody 
business but my own." 
"Wait," he smiled. "You'll soon see for yourself." 
And I did. 

I was invited by one of the executives from my own 
studio to a dinner given in honor of a visiting dancer 
whom the studio wanted to place under contract. 

The house was beautifully located on a high hill in 
Beverly Hills (on the right side of the track, meaning 
urse the north side. No one who is anyone in 
the movies would dare to live on the south side.) 

I guided my brand new little roadster through 
an imposing line of Rolls Royces, Hispano Suizas and 
other high-priced cars, and handed it over to a sym- 
pathetic footman. 



I didn't know just v.!. ng to 

be there and I felt shy and 
There was a huge crowd, much the 
as the crowd I s.t day in the 

studio commissar;. "Just our own 
happy little family." the executive play- 
fully explained. 

1 learned a lot about Hollywoi 
ciety from that party. 

WHEN an executive entertains, every 
studio worker who gets an invita- 
tion accepts as a matter of business. He 
may not like the executive, or he may 
have had a previous engagement, but he 
goes, because he's afraid of his job if 
he doesn't. He bends the knee in homage 
to his business superior, and opens the 
mouth in lip homage. 

I moved around from group to group. 
The one word that fell on my ear with 
the persistence of a Greek chorus was 
"pictures." Nobody talked about any- 
thing else. 

I saw — and heard — a writer nab an 
associate producer to tell him the plot 
of a new story he had just written. 

I saw — and heard — an associate pro- 
ducer tell his (Please turn to /<".</' •">'.' 





The New Movie Magazine, February, He:', 



39 













'I'm sorry, sir, but my name is 
CHARLOTTE HENRY." 



Out of the Magic 

MIRROR 



The true story of the little 

Brooklyn girl who lived a 

fairy tale in actual life 

By VIRGINIA T. LANE 



O 






40 



NLY one magic mirror in the world and Alice has 

stepped through it to discover 

Wonderland. 

Some people have another name for it. Some 
people call it "Hollywood." But Alice knows. Last Christ- 
mas she was on the bright shiny side of it, the side you and 
I see, that reflects the day dreams of millions of people in its 
mysterious depths. This year she is on the other side . . . 

A' tremendous experience for a slip of a seventeen-year-old 
girl with hair the color of harvest moonlight and surprised 
blue eyes. But Alice, in the person of Charlotte Henry, looks 
like a girl exciting things are bound to happen to. She's so 
on tip-toe reaching for them, you see. 

The first occurred when General Foch and his entire staff 
saluted her. That, declares Charlotte, was the most auspi- 
cious start she could have had. Right in Central Park too. 
The general and his adjutants were being shown the sights 
of New York on what was to be his last visit here. But 
one of the "sights" was not on the program. A tiny young- 
ster clinging madly to an infuriated pony. Straight toward 
Foch's police escort came the pony. One of them swerved and 
caught his bridle. The whole procession had come to a halt. 
Then the famous French general stepped out and took the 
frightened child in his arms. He kissed her . . . barked an 
order . . . and he and all his men gave her a smiling 
salute. . . . 

Charlotte dated her young life from that event. She had 
been born in Brooklyn and lived quietly with "Mumsie." 
There was no one else — just the two of them. Convent 
schools, summers at the seashore, not much money to go on. 
That was life for the Henrys until 

A certain rainy Thursday morning when Charlotte was 
thirteen. 

"Mother's taking me to a theater manager in the morning. 
Want to come along?" a little friend had asked. Adventure 

with a big capital A Charlotte scarcely slept that 

night. She wouldn't have slept at all had she known the 
greeting she was to get. The manager stood behind an 
enormous desk and his eyes seemed riveted on her from the 
moment they entered. Maybe her dress had shrunk in the 
rain. Or maybe it was the wet wisps of hair straggling 
along her cheek. . . . But no. He was saying in an eager 
voice: "Gladys Colbrook! Where have you been?" 

"I'm sorry, sir, but my name is Charlotte Henry." He 
laughed then and explained. They had been searching six 
weeks to find a little girl for the role of Gladys in "Courage." 
. . . "And you fit the specifications exactly!" 

It was as simple — and miraculous — as that, Charlotte's 
entrance into the sanctum sanctorum of actors known as 
Broadway. The show ran for a year. Twelve months that 
set the course of her entire future. One evening toward 
the end of the run she came home in a radiant mood. "Mother 
we're going to California — they want me to do 'Gladys' in 
the movies." {Please turn to page 75) 

The Neiv Movie Magazine, February, 193 U 



She Can't Make Up Her Mind 

A noted critic gives an intimate pen picture of a rebellious new star 




John Boles played in "Only Yesterday," the picture which brought 
success to Margaret Sullavan, the girl who changes like the wind. 



By 

TERRY RAMSAYE 

Margaret Sullavan has reached suc- 
cess in one picture and is not satis- 
fied. Here is one girl who is constant- 
ly reaching for something more. 

The New Movie Magazine, February, 1984 



IF life and the world 
Sullavan would not be pleased. I: 
as good an actress as sh«- wants to be that 
would not be good enough. If she could be 
tly sure of what Bhe wanted to do she 
would refuse to do it. sitive and 

determined that whenever she gets her mind 
made up she changes if immediately. She dis- 
agrees with herself firmly, always. 

Miss Sullavan being that special sort of per- 
son in this enigmatic -'ate of mind, and being 
the while about to take the curtain call of screen 
stardom in "Only Yesterday." I was elected the 
other day to see what might be done about 
getting her on paper. 

A certain distinction attached to the assign- 
ment, from an apparent decision that it was a 
job for me, perhaps based in part on the rumor 
that I once got ten free words out of Rudyard 
Kipling, who wrote and sold his bright i< 
and was otherwise as abandoned with words 
as Harry Lauder with sixpence; that I had 
an editorial hand in getting Emmett Dalton. 
condemned lifer, out of prison, and that I suc- 
cessfully established the actual age of Mary 
Miles Minter, thereby rescuing that erstwhile 
flower of the cinema from eternal adolescence, 
after she had been sixteen years old for five 
years. Then for another thing I went to work 
for the movies about the year that this Mar- 
garet Sullavan was born and am presumed to 
have observed a number of things about the 
art and its people since. 

To sum it up. Miss Sullavan is. in the opin- 
ion of some who have come in contact with her 
off-stage personality, shall we say — difficult. 
But of course that is an unsympathetic word. 
If one might only look out at the world with 
her through those level gray-blue eyes one 
might understand. Here she is just about 
twenty-two years old with a life-long slavery 
to the art of the stage of almost four whole 
years and she has arrived nowhere except in 
the lead of one of Universal Pictures' most 
pretentious productions of the season, and is 
supported in this role by practically nobi dy 
but a cast of sixty-three prominent players. 
Anyway Mr. John M. Stahl, the director, and 
Mi-. Carl Laemmle, Jr., just tossed her into 
the part regardless since they only considered 
and screen tested a mere handful of ten of 
Hollywood's top rank actresses before choosing 
her. You can readily sec that the situation could 
be a great deal better. Success is bound to look 
a long way oil' when one gets up against a 
situation like that. It is to be admitted that 
there are on the rolls of the Casting Bureau 
some 14.8D1 girls who would not realize their 
plight if they were in the same position, but 
then they are not Margaret Sullavan. De- 
cidedly they are not. 

If Miss Sullavan ever really arrives that is 
to say if she ever gets where she is going, she 
will depart immediately. 

Bent on the investigation of this worthy and 
trying case. I finally discovered and surrounded 
Miss Sullavan at the apartment o( friends in 
the Elegant Eighties jusl where New York's 
lofty Park Avenue zone begins to get slightly 
Americanized. 

Miss Sullavan had been aware of the im- 
pending intrusion for only about a week, so 
maybe just because (Plea&i turn to pag< 66) 



Mae West's 

Cum'up som'time and you'll find the siren from 

Brooklyn to be the busiest girl in Hollywood 

By DOROTHY MANNERS 



Tt "TEW MOVIE cordially invites you 
I \I on an eight-een-hour expedition in- 
J- » to the private life of Mae West. 
Mae has ivhat she calls two sets of 
daily routine "when I'm ivorkin' and when 
I'm preparin' for it." But recently, just 
before she put the finishing touches on her 
next original story, "It Ain't 
No Sin," Mae enjoyed what 
might be called a composite 
day. The plans, the settings 
and the dialogue are by The 
One-And-Only, Herself! 



6 A. M. "Well, what are 
you doin' at that hour? So 
am I! I'm only human . . . 
some folks say too human! 
Say, is there really such an 
hour ... or is it just an idle 
rumor?" 

7 A.M. . Mae's apartment. 
More specifically, her bed- 
room! Pause a moment to 
take in the significance of 
where you are. For no one in 
Hollywood, with the exception 
of Mae, and her colored maid, 
Libby Taylor, has ever set 
foot in this bedroom before! 
It is the holy of holies! The 
inner niche to which neither 
friend nor foe is allowed to 
penetrate. In her otherwise 
untemperamental, placid ex- 
istence Mae has only One 
household law: "Keep outta 
my room! I've got to have 
some place that's all my own 
. . . where I can go and shut 
the door and be by m'self!" 
This is it! Look about care- 
fully, for this is the first, and 
last, public inspection of this 
sanctum. 

(A white-and-gold French 
bed, carefully "pointed to- 
ward the north" — one 
Mae's many supersti- 
tions — is mounted on a 
small dais. A gold- 
flecked canopy only 
serves to accentuate 
the frilly femininity of 
the white satin and 
lace comforter, the 
dozens of small French 





pillows piled together along the foot of 
the bed. It is the only piece of furniture 
in the room that belongs to Mae. The rest 
is typical, but smart, apartment furni- 
ture. A pale blue satin chaise-longue, a 
dressing table sparkling with crystal per- 
fume bottles, a night stand with a modern 
white lamp and also certain 
pencil-marked pages of the 
script of "It Ain't No Sin" on 
which Mae has worked late 
the night before. Notice there 
are no cigarettes or trays 
about. Mae does not smoke 
or drink, and so there is no 
smoking done within the 
walls of this coral-draped do- 
main.) 

8 A. M. Enter Libby Tay- 
1 lor, smiling, buxom, colored, 
almost stiffly fresh in her gray 
uniform and starched white 
apron. Remember Libby as 
the singing, dancing comedi- 
enne maid of Mae's "I'm No 
Angel"? She was right in 
character in that role — be- 
cause Libby is Mae's own per- 
sonal maid in private life — 
"an' finest friend" (Libby is 
always quick to add, "an' 
1 finest friend!") Be it known 

that, though black, Libby was 
not born into a life of service. 
Far from it ! She was a well- 
known actress herself on the 
Broadway stage until it came 
home to her that she loved 
Mae more than she loved 
ambition. Not for any other 
person in the world would 
Libby have given up her 
promising career for personal 
service. But that's the way 
Mae gets people. By writing 
parts for Libby into her shows 
and pictures she's made it 
possible for the genial gal to 
have her cake and eat it, too. 



Here is the inimitable 
Mae, dressed for a Holly- 
wood opening. "Can you 
imagine me in gingham?" 
she asks. "What's the 
matter with velvet or 
satin, if you're the velvet 
or satin type?" 



42 



The New Movie Magazine, February, 193b 



Perfect Day 



Mae, with her beau- 
tiful white shoulders, 
says, "Me sun- 
tanned? Woman's 
greatest weapon is 
her snow-white skin. 
The sun's swell for 
invalids, but I'm no 
invalid." 




The night "I'm No Angel" was premiered at Gran 
man's Chinese Libby attended, back stage, gloriously 
bedecked in yellow velvet and gardenias. 

Libby runs a tub of hot water into which she gen- 
erously sprinkles both bath salts and Sweet Pea toilet 
water. No cold showers for .Miss Mae, you bet! Two 
large, fluffy white towels are stacked neatly on an 
orchid colored stool beside the tub. A large box of 
Sweet Tea bath powder and a feathery puff are made 
convenient before Libby's "pre-waking Miss Mae" 
activities are completed. Now she stands beside the 
white-and-gold bed in which a woman with unbeliev- 
ably white skin is sleeping in a white satin night gown. 
Sometimes it's blue satin, or flesh satin, but it is 
always a nightgown — never pajamas! "Bath's ready, 

The New Marie. Magazine, February, 1984 



Miss Mae," says Libby softly, "time to get up." 
The woman in the bed awaken- almost immediately 
at the sound of the words. "I never knew a lady to 
wake up as easy as Miss Mae." Libby will tell you. 
"Sometimes you figure she couldn't have been asleep 
at all." She smiles at the beaming colored woman 
holding a white velvet dressing gown and white velvet 
mules. Waking up in a good humor is a habit with 
Mae. She says: "What time is it?" Says Libby: "A 
little bit after eight!" A look of blank astonishment 
settles over the West features. "What's the idea? 
There's no call today!" Libby, who well knows her 
mistress does not arise until nearly noon on non- 
working days, nods in agreement: "I know, but last 
night you told me you had (Please turn to page 68) 



43 



iTiiTi i n ii - ii — ■ -i ~M t ii ~ if riirfiTi btt rf tt — irii n r nirn Tj r i n >^^ 





NOW YOU CAN 

Hollywood's 

By NANETTE KUTNER 

REPEAL is here, and The New Movie Magazine takes great pleasure in 
being first to present you with the favorite cocktail recipes of your pet 
. stars. If you have ever wondered just what cocktails they serve at those 
Hollywood dinner parties, well, your wondering days are over. Here 
are the formulas, straight from the stars themselves. 

Perhaps, like Joan Crawford or Mae 'West, you don't drink, but, also 

like them, you probably have a hospitable nature and may want to give your 

guests an occasional spicy cocktail. Then, at your next party you can astound 

everybody by asking if they would care for the same concoction that 

the Missus, or if they would prefer Marlene Dietrich's 



YELLOW DIAMOND 

ARE you ready? Here goes. . . . 
No, Mae West does not drink. 
Honest Injun. But up at her 
house they'll serve you with the 
famous "Yellow Diamond." It goes 
like this . . . and just wait until you 
see the color! 

1 part yellow chartreuse 
1 part Italian vermouth 
1 part gin 

Plus an olive dropped into each 
glass 

DANCING LADY 

Joan Crawford gives you Mar- 
tinis, and it may be only a co- 
incidence, but it so happens 
that Franchot Tone says 
they're his favorites. He 
calls the cocktail "Dancing 
Lady." However, don't be 
fooled, it's just a Martini 
all dressed up in that 
Crawford personality. 

14 part French ver- 
mouth 
1 part gin 



Stir in ice. Strain. Serve with lemon 
or olive. 

Both Loretta Young and Charles 
Ruggles also go for Martinis, but 
they each have a different recipe. 
Here's Loretta's . . . 

1 part French vermouth 

3 parts dry gin 

A dash of absinthe 

Shake, and put olive into each glass. 

THE TRUE MARTINI 

Charles Ruggles dubs his "The True 
Martini," and it's more complicated 
than the others. 

1 dash of bitters 

2 dashes of Maraschino 
1 pony of Old Tom gin 

1 wine glass of vermouth 

2 small lumps of ice 

Shake up thoroughly, and then strain 
into a large cocktail glass. Place a 
quarter of a slice of lemon in glass 
and serve. 

Clark Gable, loaned to Columbia, 
and thus working on the same lot as 
Spencer Tracy, discovered that they 
both crave "Manhattans." Like two 
women quarreling over a cake recipe, 
the boys argue as to which has the 
best method. You can judge for 
yourself. First, we have . . . 



44 



The New Movie Magazine, February, 193 A 




HAVE THEM! 

Cocktails 



THE TRACY MANHATTAN 



3 parts rye 

1 part French vermouth 
Add piece of lemon peel and Mara- 
schino cherry 

And ladies and gentlemen, in this 
corner we have . . . 

THE GABLE MANHATTAN 

1 part rye 

J i part French vermouth 

1 dash of Angostura bitters 

Mr. Gable says that if you like 
your cocktail sweet just add U part 
sugar syrup which is made by stirring 
powdered sugar with hot water. 

You stir the ingredients, then 
strain, and don't forget — a Mara- 
schino e+ierry in each glass. 

PARISIAN POUSSE-CAFE 

To make Marlene Dietrich's favor- 
ite, you have to be something of a 
juggler, but Marlene claims she likes 
both the appearance and the taste 
of . . . 

2/5 Curacao in a small wine glass 
2/5 "Kirschwasser" 
1/5 chartreuse 

And, cautions Marlene, you must 
take the greatest care to float one 
liquid on top of the other. This is 
best done by pouring the liquids from 
a sherry wine glass. 

CONNECTICUT YANKEE 

Rudy Vallee, who is returning to 
the screen in Fox's production of 
George White's "Scandals," is loyal 
to his native New England, and that 
means applejack for his "Connecticut 
Yankee" cocktail. 

1 part applejack 
Vi part grenadine 
% part lemon juice 
Shake in ice and strain. 



MARX OLD-FASHIONED 

Chico Marx of the Marx Brothers 
likes an 01d-Fashione<l. His pretty 
wife, Betty, mixes it for him, and she 
wired me this recipe. 

1 whisky glass of orange juice 
Same amount of Bourbon 

1 lump of sugar 

Dash of Angostura bitters 
A little carbonated water 

First, mash the sugar into the 
bitters, then add the rest of the in- 
gredients plus a lump of ice, lemon 
peel, orange peel and Maraschino 
cherry. Serve in thick bottomed old- 
fashioned cocktail glasses. 

BRANDY SCAFFA 

W. G. Fields likes Brandy Scaffa. 
He says just use a wine glass, and the 
rest is quite simple. 

Vz part brandy 

Vi part Maraschino 

2 dashes of bitters 

MUNCHAUSEN BRONX 

Jack Pearl, that good old Baron 
Munchausen, really prefers beer, but 
admits that he can stand for a Bronx 
if it's made this way . . . 

V* part dry gin 
!4 part French vermouth 
*A part Italian vermouth 
The juice of \\ orange 
And use a lot of ice. 

HARMONY CHAMPAGNE 

Lenore Ulric coming to the 
screen in "I Love an Actress" 
has a champagne taste. Lenore 
informs me that the following 
recipe is the exact one used 
at The Ritz Bar in Paris. She 
has named it "Harmony" after 
her estate in Harmon, N. Y. 
(Continued on page 73) 



Drawing by 
Callahan 



The New Movie Magazine, February, 193U 



45 



CLOSE-UPS 

Interesting yarns about folks you seldom see and seldom hear of 

He Wanted a Two Weeks' Job 



FIFTEEN years ago a young man 
fresh from Columbia University 
wandered into the offices of Loew's pic- 
ture company with something in his eye 
describable only as a glint and told them 
that he had a snappy idea to advertise 
their pictures. The idea was one whose 
validity could be confirmed or disproved 
in the space of about two weeks. And 
that, although the company had no way 
of knowing it, was as long as the 
young man wanted to work, since he 
was expecting some money from a mag- 
azine at the end of that period. The 
idea worked. Loew's changed into 
Samuel Goldwyn and Samuel Goldwyn changed into 
Metro-Goldwyn-Mayer — and the man with the snappy 
idea was still there, now in exclusive supervision of the 
advertising and publicity departments. That young 
man, my chucks, is Howard Dietz: and his fifteen 
years with a film company have been distinguished as 
much for his brilliance in the actual job as for the 
incredibly many extra-territorial activities for which 
he is even better known. 

Eecall the first Little Show: "Three's a Crowd," 
"The Band Wagon," "Flying Colors." See if you can 
still hum "Moanin' Low," "I Love Louisa," "New Sun 
in the Sky," "Something to Remember You By," 
"Dancing in the Dark," "Shine on Your Shoes" and 
"Louisiana Hayride." The lyrics of all these are by 
Howard Dietz, and most of the more riotous sketches 
you remember from those revues were of his author- 
ship, too. 

This combination of shrewdness in exploitation and 
sensitivity in lyrics and topical satire is one of those 
things which onfy that rara avis, a native New Yorker, 
could achieve; and Howard Dietz is such a bird. 




HOWARD DIETZ 



Even while at Columbia and con- 
tributing to The Jester, his verses were 
appearing in Life, Puck, Judge, and 
in the humor columns of F. P. A. and 
Don Marquis. 

He was also working at the time as 
office boy on The Neiv York American, 
later becoming its college correspondent 
and finally a general reporter there. 
Immediately after leaving college he 
got a job with an advertising agency 
on the strength of having won a $500 
prize in a national advertising contest. 
Then he got the job with what is now 
Metro-Goldwyn-Mayer — and he has 
never had any other job since. 

In 1917 he married Elizabeth Bigelow Hall, of 

whom he has a huge oil painting in his private office. 

He used to play baseball and still follows the game 

closely, but gradually dropped his interest in that sport 

and went in on the grand scale for tennis. 

He follows football, boxing, wrestling, six-day bi- 
cycle races, track meets, billiard tournaments, hockey, 
swimming and yachting ; he is a passionate devotee 
of anagrams ; and a bridge shark. 

He has an extensive wardrobe but alternates be- 
tween two suits. He sleeps no more than four or five 
hours a night and admits he's always tired. He has 
stayed up for three days at a stretch on several 
occasions. 

He goes to Hollywood twice a year but doesn't stay 
long. He can't stand that sunshine. 

He likes croquet, brandy and soda, drawings by 
Covarrubias, crab meat, everything that Robert Bench- 
ley writes, poems by Edna St. "Vincent Millay and 

wS By DONALD HENDERSON CLARKE 



From Secret Service to Studios 




NATALIE BUCK- 
NELL bosses the 
best research department 
in Hollywood — that of 
M-G-M. If they need to 
photograph a Swedish 
fire-plug, a mule cart in 
Barcelona, or the third 
left eyelash of the Venus 
de Milo, Natalie is the 
girl who tells them how 
to do it and supplies a 
photo and description of 
the actual object. 

She can do it, with- 
out ever a miss, because 
there's not a spot on the bulging globe that isn't 
as familiar to her as her own front parlor. She has 
roamed Europe in a life of unparalleled adventure. 

In 1917 Natalie, tiny and dainty and blond, was a 
student at the College of St. Anne in St. Petersburg, 
in her native Russia. Her family belonged to the 
nobility, and she was studying to be — of all things — 
an engineer. She quit drawing blueprints of Russian 
battleships to join the famed Women's Battalion of 
Death. Her company of girls defended the Tsar's 
palace against the Bolsheviks, women shooting men 
and men shooting women. Scores of girls were shot 



MRS. NATALIE BUCKNELL 



to death all around her, hot rifles in their hands. 

During the War Natalie served as a nurse on the 
hospital trains of the Grand Duchesses Olga and 
Tatiana. The trains steamed up close behind the 
lines, to get the wounded and take them to hospitals. 
Innumerable times they were bombed by low-flying 
German planes. Once a train rushing along the next 
track was blown to bits. Another time the Germans 
cut off the trains as they raced across the Polish low- 
lands, and captured the train behind Natalie's. She 
missed internment in a German prison-camp by inches. 

Marrying a young naval officer attached to the 
British armored car division in Russia, she joined the 
British Secret Service and served as a spy against 
the Bolsheviks. You don't need to be told what would 
have happened to her if they had caught her. Once 
they nearly did. The Bolsheviks raided the British 
embassy in 1918, shot Captain Crombie in charge — 
he died in Natalie's arms— and threatened Natalie and 
the others with machine-guns. She is the only person 
alive today who witnessed the assassination. After 
a third degree she was dragged to prison, twice stood 
before a firing squad to scare her into a confession, 
then released so Bolshevik agents could follow her. 
Knowing she was followed, she nevertheless carried 
letters for the British secret agents held in rat-ridden 
dungeons in the Fortress _ . . _.. iawjic/^ki 
(Please turn to page 91) By JACK JAMIbUIN 



46 



The Neiv Movie Magazine, February, 193 A 



The unfamous of Hollywood. One hasn't anything to do with films 
and yet he has made a dozen stars. Another has filmed more des- 
perate air smash-ups than anyone else. 



A Fan Made Her Famous 



HOLLYWOOD has opened its ardent 
arms to a new Bensation -Sally 
Band, beauteous blond exponent of the 
t'an dance whose nude terpsichory, 
for a protective pair of feather fans. 
tly got her into plenty of legal 
difficulties in Chicago, New York and 
other key citii 

Where has she been all this time? 
The cinema city scouts want to know. 
Sally'll tell them right enough: Holly- 
wood ! 

The Paramount film folks who've 
just signed the little gal to a long- 
term contract which, according to report, entitles her 
to $5,000 a week, wouldn't even consider her talents 
back in 1924 and 1925 when she was a .Mack Sennett 
bathing beauty. It was the great director Cecil B. 
DeMille who eventually saw something in Sally. He 
put her under contract in his film stock company, 
and you may have seen her in "The Golden Bed," 
"Braveheart," "The King of Kings." "The Fighting 
Eagle," "The Night of Love." and other silents. 

In 1927 Sally Rand was named a WAMPAS baby 
star. which simply didn't mean a thing. She had by 
this time quit the DeMille banner, and just couldn't 
get her big chance in pictures — despite the fact that 
exceptionally pretty and exceedingly talented- 
She loves swimming and drawing. She eats potatoes 
galore and doesn't get fat. Weighs 115 pounds: is 
just over five feet tall. 

Now that she has been "discovered" on account of 
her court battles — sentences commuted from a year 
in prison and $200 fine to ten days in the House of 
Correction and $100 fine for indecent exposure — she 
Bays she's going to give up dancing forever. Let 
Sally speak for herself: 




SALLY RAND 



"I'm placing my faith in the future 
now on my ability to emote a hit 
the cameras. I know I'm going to have 
a difficult time convincing them out 
there that I have a single acting bone 
in my body. All I am going to hear is 
'fan dance.' But, from here on. I want 
to carry on with acting as my principal 
qualification." 

Before she spoke of her new career 
(which really is a renewal of an old 
career i Sally had talked of her fan 
dance in no uncomplimentary terms. 
"My act," said she. "has class. It's 
art with a big A. That's the difference between me 
and those cooch dancers in burlesque." And she said 
of the "indecent exposure": "I am not naked. I never 
was naked, and I would not get naked in front of 
anyone but my mother or my own mirror." Meaning, 
of course, that the fans were all-concealing until the 
very last step of her dance when she stood in statue 
fashion, her lovely form revealed in entirety to theater 
patrons. 

Fan dancing wasn't Sally's first venture in display- 
ing her pulchritude. She didn't get much publicity 
in December, 19:'>2, when she appeared as Lady Godiva 
at Chicago's Annual Artists Ball. At this affair she 
did not even carry fans; wore merely a blond wig 
with hair falling below her knees. Nobody cared 
much: not even the big, bad policemen. So, Sally 
didn't get her movie contract until late in 1933 after 
the fan dancing episode which started at Chicago's 
World Fair in the Streets of Paris peep show. During 
this adventurous episode of her life, the new-found 
filmster was not only arrested for indecent exposure 
but was brought to court for .-.-..._ 

(Please turn to pagt 911 By IRENE THIRER 



They Run a Red, White and Blue Shop 



CAREERS for women? Not one, but two or three — 
with a home and children on the side — is the 
latesl Hollywood custom. 

Look what Bebe Daniels and Pauline Gallagher are 
doing! Bebe has her picture career, her home, her 
husband — Ben Lyon — her daughter Barbara Bebe. 
Pauline, 'tis true, quit the stage when she became 
Mrs. Skeets Gallagher, but to make up for Bebe's 
movie work, she has a home, husband and two chil- 
dren; the newest little boy just three months old. 

And now the young women — both of them pretty 
and intelligent — have undertaken to help out Presi- 
dent Roosevelt and the NRA. Filmdom is raving 
about the "American Maid-American Made" simp in 
Westwood, just outside the Hollywood limits. There 
are sports clothes and afternoon togs and evening 
gowns and various little novelties which complete a 
well-picked wardrobe. Bebe and Pauline, who were 
in New York a few weeks back, to make their first 
selection of costumery, spent mornings, noons and 
nights at the various wholesale houses; turning down 
tail parties and cancelling theater dates in the in- 
terests of their new profession — Mademoiselle 
Modiste. 

Pauline is the business manager and Bebe is prin- 
cipal buyer. She will, from time to time, choose clothes 
with an idea to photographic value as well as price 
scale. There will be simple things for college girls. 




sophisticated styles for 
screen sirens, anything 
to suit the tastes of the 
girls" who wear sizes 
twelve to eighteen. 

Matrons are rather 
out of luck in the 
"A M-A M" shop. But 
Bebe assures her cus- 
tomers that she .can al- 
ways get a gown on or- 
der for a woman who 
doesn't wear the sizes in 
stock. 

Mesdames Daniels 
and Gallagher let you 
know that yellow will 
be the big spring color; that brown will do well, too, 
with blue coming third in importance. There will be 
a vmu,] deal of yellow used for evening wear — which 
is rather unusual. The material for going-out clothes 
will be triple-voile. Black and white will be big sellers. 
of course. And the American Maid-American Made 
Shop will specialize in little things to match costumes 
■ — a metallic bag. of the same material as an evening 
gown; a jersey cap and scarf to match its sports frock. 

Models will be bought in 

(Please turn to page 91) By IRENE THIRER 



PAULINE GALLAGHER 
BEBE DANIELS 



Tin New Movie Magazine, February, 1984 



47 



The people you never hear about. They contribute the studio sounds, 
write the song hits and take the lovely pictures of the stars you admire 



The Noisiest Man Alive 




M 



AKING a noise 
like a canary, an 
Airedale or a South 
African Dick-Dick is a 
comparatively simple 
procedure ; but when 
you tackle thirty-ton 
monsters of seven 
million years ago you 
can take it from me 
you're delving into the 
realm of difficult bed- 
lam! 

The chances are 
you'd be hard put to 
imitate the growl of a 
Brontosaurus, ths tqueal of a Tryannosaurus or the 
lisp of a twenty-ton lizard. But not so Murray 
Spivack. If it weren't for him the world would be 
a quieter place today. He considers it his mission 



MURRAY SPIVACK 



in life to create auditory mesalliances, which cause 
brave men to break down and sob. 

Spivack even went so far as to renounce a suc- 
cessful career as trap-drummer when he discovered 
he could make louder and funnier noises at the ex- 
pense of RKO. He rates as chief trickster of their 
sound department. Up to date he has created and 
recorded over seven thousand distinct and equally un- 
desirable rackets. This includes the sound effects of 
a ghost. As a result his .hair went prematurely gray, 
and still is. (At least it was at the beginning of 
RKO's sequel to "Kong." By now it's probably as 
white as the virtue of the Three Little Pigs!) 

White or gray, Spivack it is — dear old Spivack! — 
who created all the ghastly, blood-curdling, hideous, 
nerve-racking roars, groans, screeches, hisses and 
howls belched by the monsters of the Jurassic Age 
when they love, scrap, squabble and frolic in "Kiko, 
the Son of King Kong." ,^ n -r^*., 

(Please turn to page 92) By HALE HORTON 



He Wrote "The Last Roundup" 



BILLY HILL — Yankee cowboy from 
Roxbury, Massachusetts. Name's no 
gaggy nom de plume suggesting Hill 
Billy. It's the way he was christened, 
back in 1899. That is, to be more 
exact — William Joseph Hill is the mon- 
icker. You know him as composer of 
the song which has captivated continents 
— "The Last Roundup." Paramount 
Pictures Corporation thought so much of 
the musical number that they have pur- 
chased the right to use this title on 
their Zane Grey, super-special "The Lone 
Cowboy." And, with the picture's name 
changed, Billy Hill will share credits 
with the Western writer of prominence. 

Three years ago, Billy Hill didn't have much more 
than a buck to his name. He quit home at the age of 
eighteen and trekked westward, spending several 
years in California's Death Valley on a cattle ranch. 
He's six feet three, weighs 195 pounds, is powerfully 




BILLY HILL 



strong and sings a fine baritone. Al- 
though he hailed from New England, 
he took to ranching with fervor. Loved 
it — but found it no way to make money 
— until publication date of "The Last 
Roundup." So, he quit the mountains 
for the studios of Hollywood. And some 
four years ago he peddled his musical 
wares to independent companies in the 
cinema city — earning as much as fifteen 
or twenty dollars for a song. If he netted 
twenty-five bucks it was a dandy day. 

And there came to the land of the 
fillums one certain gentleman named 
Louis Bernstein, of Shapiro-Bernstein, 
Broadway music publishers. That was 
about three years back. Later on, through an agent, 
Mr. Bernstein heard a number of Hill's tunes — words 
and music by Billy. 

Said Louis B. to Billy H.: .._... _. ,._.,._ 

(Please turn to page 94) By IRENE THIRER 






He Acts While You Pose 




WJ 



'HEN a star goes 
to George Hurrell 
to have his pictures 
taken he may expect 
him to do everything 
from acrobatics to the 
singing of a duet. If he 
isn't hanging from the 
chandeliers to get an 
unusual photographic 
angle he is playing 
peek-a-boo with you 
from behind the large 
phonographic machine, 
which is as much a part 
of his studio as his 
fine cameras and his innumerable lights. 

You have no doubt seen hundreds of Hurrell's photo- 
graphs in the rotogravures of magazines and Sunday 
supplements; beautiful studies of Hollywood's elite: 
soft-focused, divinely lighted, superbly relaxed. If 
only you could see all of the antics that Hurrell goes 
through for his rubjects to get the desired effect you 



GEORGE HURRELL 



would wonder if he hadn't missed his calling. He 
might have been one of the greatest comedians in 
the movies! 

By reputation the most exclusive photographer of 
movie celebrities, he gets $25.00 for each negative 
that he shoots. Considering the show that he gives 
with it, it's cheap at that. Hurrell's energetic, peppy 
personality acts as a stimulant. After a Hurrell sit- 
ting one is never tired, except from laughing. 

If Lupe Velez has the right to be called the Mexican 
jumping bean of Hollywood, George Hurrell has twice 
the right, although he isn't a Mexican, yet. 

For three years he shot all the stars at Metro- 
Goldwyn-Mayer, photographically speaking. But his 
genius demanded individual expression, and so he 
opened up his own studio and practically ruined every 
other studio in town. All of the stars from the Culver 
City studio still go to him. He has seen Garbo yawn 
more times than any man alive. 

Joan Crawford is his favorite subject. He never 
has to act for her. She can keep him so interested 
with all the poses that _., __. .___ 

(Please turn to page 94) By RAMON ROMERO 



The Neiv Movie Magazine, February, 193 -^ 



Two of them flew over Mt. tv\cKinley with a frozen comero. Another es- 
caped a Russian pogrom to become one of your favorite Hollywood actors 



Lens On Wings 



ELMER DYER, tall and dark and rangy, with a lit- 
tle waxed moustache, is a cameraman. He shot 
"Hell's Angels," "Dawn Patrol," "Young Eagles," 
"Dirigible," "Flight," "Air Mail," "Air Host 

tral Airport," "Lost Squadron," "White Sister," 
"Today We Live," and "Night Flight." From the air. 

amera bolted out in the wind on a plane fuselage. 
It was Klmer's lens in front of which Omar Locklear 
and Skeeter Elliott crashed to death in 1920. He 
cracked on a pilot flying over a dummy plane, loaded 
with dynamite, which blew up and shattered him. He 
shot a stunt man. trying to jump from plane to train. 
as he was dragged to death along the car-roofs. He 

and photographed Chub Campbell when his para- 
chute tore off and he plummeted, kicking and clawing, 
to a hard pavement a mile below. He shot a girl 
doubling for Ruth Elder who forgot to open her chute. 
He shot a kid trapped in a plane when a pilot jumped 
and left him to stare at controls he had never seen 
before. 

Once when he flew over Mt. McKinley at 17,000 
feet his face and his camera froze solid. 



During "The I 
idron" mechanics 
(ii.-i-nnnected a gas-line 
<in his plane to make 
room for the camera. 
The second tank went 
dry— 3,000 feet up. 
Right over Hollywood. 
Only house-tops and 
crowded boulevards to 
land on. Elmer side- 
slipped to a driving- 
range for amateur 
golfers and landed the 
dead plane three yards 
from a cement wall. 
The driving-range proprietor bawled him out. Said 
it was against the law to land on private property. 

Making "Hell's Angels" twenty planes took off to- 
gether, one foggy morning, circling up to get through 
the clouds. Dead ahead ....„-.. 

(Please turn to page 94) By JACK JAMISON 




ELMER DYER 



The Star-Maker of Hollywood 



HIS name has never appeared on a 
silver screen. He has no active 
connection with Hollywood or the mo- 
tion picture business. He does not 
even live in Hollywood, nor does he 
visit it except upon rare business oc- 
casions — and yet he has created and 
discovered more new motion picture 
stars in the past two years than all 
of the agents, directors and producers 
together. It's Gilmor Brown, I am 
speaking of; founder and directing 
head of the Pasadena Community Play- 
house. 

From behind the footlights of his GILMOR BROWN 

stage he has watched Karen Morley, 
Gloria Stuart, Robert Young, Victor Jory, Douglass 
Montgomery, Stuart Erwin and Frances Dee step to 
Hollywood stardom. He has seen them develop from 
mere novices into experienced players. Quietly, with- 
out fanfare of publicity, he has sat back with the 






beaming pride of a mother, watching 
the names of his proteges grow larger 
and larger in the electric lights. But 
never has he claimed any of the credit. 
His interest is in the theater, not in 
motion pictures; although he goes to 
see all of the pictures in which the 
graduates of his theater appear. He 
makes discoveries for his own produc- 
tions, producing about twenty-five plays 
a year; some Broadway successes, 
others, originals, that later find their 
way to New York's Main Stem — but he 
knows beforehand that the movies will 
snatch away any discovery he might 
make. Artistic kidnaping he calls it. 

And yet he goes right on finding new talent which the 

cameras sooner or later will gobble up. 

If he were a manager he might be a very rich man 

today. Ten per cent of ■»* » j*%m r.^s. i-^^ 

(Please turn to page 95) By RAMON ROMERO 



Out of Horror into Happiness 



■yOU have seen him in half-a-hundred screen 
*■ thrillers — but never in one which boasted a story 
mine dramatic than that of his own life! 

George E. Stone has known terror, hunger, despair 
and tragedy. He has also known great happiness. 

Let's turn back the clock nearly thirty years, to 
one bitterly cold, winter's evening in Lodz, Russia. 
George, then, was only six years old, but already he 
was a wage earner, toiling twelve long hours each day 
in the silk mills. His wage was pitiful — approximately 
five cents a week — but it was the difference between 
existence and starvation to him, his mother and his 
four sisters. Such abject poverty as theirs is beyond 
the American's experience or imagination, even in 
these times of depression. 

On that tragic day, as he trudged homeward from 
bis work, he heard a pistol shot . . . another . . . 
another . . . and then volley after volley. He heard 
the screams of his fellow Jews. He heard the thunder 
of galloping horses and savage shouts of the Czar's 
cossacks. 

A pogrom! The wild riders of the steppes were 



again at their favorite 
sport of Jew-slaughter ! 

Paralyzed by terror, 
the child lingered in 
the narrow street. Too 
late, he darted toward 
the shelter of an open 
doorway — and fell, des- 
perately wounded, un- 
der the dripping saber 
of a blood-drunk horse- 
man. 

George E. Stone still 
carries a terrible scar 
— and terrible memo- 
ries — as souvenirs of that horrible day in Lodz. 

Driven by constant persecution, his father had fled 
several years before to the United States, promising 
to send for his family as soon as he could save the 
passage money. George was eight years old when 
the money finally _ __,_ , r .„^_. ,^„.^. ._ 
(Please turn to p. 95) By ERIC L. ERGENBRIGHT 




GEORGE E. STONE 



The New Movie Magazine, February. 193i 



19 



NEW PICTURES You 




You read Mr. Van De Water's reviews in NEW 
MOVIE last month. In this issue the famous 
writer again covers the big pictures of the 
month from the angle of a theater-goer rather 
than of a professional critic. 

By FREDERIC F. VAN DE WATER 



COMEONE has calculated that there are only twelve 
^ basic story plots in the world and that half of these 
cannot be told to ladies — or elderly ladies, anyway. 
Hundreds of film plays are turned loose on the world 
from Hollywood yearly. If you are a regular cinema 
attendant, you probably have the same story served 
up to you in different dresses — or not so very different 




Dorothea Wieck, who scored in Berlin in "Maedchen in Uniform, 
makes her American debut in this month in "Cradle Song. 



— at least several times each twelve months. 

That can't be helped. Nor does it make much differ- 
ence. There may be only twelve basic plots. There 
are only two basic sexes yet people manage to enjoy 
each other in spite of that. No one ever refused to 
smile at a girl because she was, in general make-up, 
very like all other girls. It is the way that woman 
or film is turned out that counts. If females of our 
species were as slipshod and hackneyed in general ap- 
pearance as many pictures are, the world would be a 
less pleasant, if more proper, place. 

There is story trouble in Hollywood — plenty of it. 
Story trouble meekly takes the blame for most film 
failures. Story trouble, usually, hasn't a thing in the 
world to do with such collapses. The stories Shake- 
speare used were routine stuff that had been done be- 
fore. He still manages to get by, despite his stencil 
plots, solely because of the way he presented them. 

Your correspondent has been at this job only a little 
more than a month. Even in the movie reviewing 
racket, that is too short a period in which to become an 
expert. Your correspondent, nevertheless, has been 
afflicted with many vertebral pains by being forced to 
see so many sterling players and so much valuable 
film wasted on productions that are tripe and were 
destined from the first to be nothing more, because of 
the ignorance and inability of the man who directed 
them. 

Six weeks has taught your correspondent that films 



will get better when cinema firms employ better direc- 
tors — and not till then. 

Intelligent direction can put life into the tritest story. 
Dumb direction can wreck the most stirring. If some- 
one other than Ernst Lubitsch, with less than his im- 
agination and sense of comedy had tried to do "Design 
for Living," the flop probably would have been lamen- 
table. Noel Coward, in this instance, had turned an 
unusual plot into a clever play, but it was the director 
— and no one else — who made a satirically funny pic- 
ture out of it. 

You can have infinitely worse plots than Mr. Coward's 
and still get a good film. 

The plot of "Little Women" has small merit beside 
the dubious one of extreme age, yet it makes an ex- 
quisitely moving picture play, thanks chiefly to the 
great delicacy and tenderness of George Cukor's 
direction. 

Epic is a term that is stuck on almost any film when 
the advertising copy writer is tired looking for better 
words. "Eskimo" is a picture play that deserves that 
rank in its highest sense. Here again, it is direction, 
not plot, that makes this film of the Far North a 
memorable experience. "The Sweetheart of Sigma 
Chi" has more story, but it has been turned, through 
carelessness and ineptitude into something it is kinder 
not to talk about. 

One thing more : Plot in pictures may be a matter 
of minor consideration but there are some story situ- 
ations that the NRA code for the industry might pro- 
hibit merely for the sake of the nerves of the long 




'Eskimo" is a hardy tale of the vast lonely expanses of the Arctic 
where blubber is the tastiest bit of anybody's menu. 



suffering audience. One in particular was silly in the 
beginning and becomes more idiotic with each repeti- 
tion. This is the cinema conviction that a woman's 
love is enough and more than enough to equip a man 
for athletic supremacy. 



50 



The New Movie Magazine, February, 193b 



Should See and Why 

MR. VAN DE WATER'S CLASSIFIED RATING OF CURRENT FILMS 

(AA, Outstanding; A, Good; B, Fair; C, Average) 
AA— OUTSTANDING Christopher Bean The World Changes 

Design for Living / „ / ,"" / ', / " .. , . „ The Right to Romance 



Eskimo 

Little Women 

Duel; Soup 

A— GOOD 

/ he Kennel Murder Case 

I he Prizefighter and the Lady 



Hoopla 

Blonde Bombshell 

B— FAIR 

After Tonight 

Day of Reckoning 

Female 

The Way to Lore 



C— AVERAGE 
Blind Adventure 
My Lips Betray 
The Sweetheart of Sigma Chi 



Nine • >n t <>t' ten football pictures have been based 
on this idea and little else. It has been employed in 
other film plays at least twice this month. In "The 
Prizefighter and the Lady." the presence of his for- 
giving wife at the ringside enables Max Baer. after 
he has been pounded for six rounds by Primo Camera 
and is rapidly approaching a state of pulp, to rally and 
knock down the champion three times. In "The Sweet- 
heart of Sigma Chi," the strokeoar learns, just as his 
crew is about to be whipped, that his girl still loves 
him. So he wins the race. 

Sometime the meek and hokum-fed American cinema 
public is going to lose its monumental good temper. 
The wreckage to which they will tear a lot of movie 
houses on that great and terrible day is a fearful or a 
happy thought, depending on whether you're producer 
or consumer -I almost said "sucker." 

Design for Living — AA 

Directed by Ernst Lubitsch. Released by Paramount 

LpKNST LUBITSCH proves once again that sex isn't 
*-< tragic or dramatic but just pretty darned funny. 
The director of "Design for Living" wears sophistica- 
tion naturally and not with the air a Tammany brave 
in a silk hat. His latest portrayal of love among the 
artists is satirical and comic. 

The film version of Noel Coward's play is a cocktail 
consisting of approximately equal parts of Coward, 
Lubitsch and Ben Hecht, who revised the script. It 




Hoopla" presents Clara Bow as a circus carnival charmer with a 
grass skirt and lots of hotcha personality. 



is more active and frequently broader comedy than the 
original story of (iihla FaireU's (Miriam Hopkins) 
amorous plight. Mr. Lubitsch lets the course of Gilda's 
true love for both Tom Chambers, the playwright 
(Fredric March) and the artist, George Curtis (Gary 



Cooper) run closer to burlesque than Mr. Coward 
steered it. The situations are broader but the satire 
has not been blunted. 

"Design for Living" is as gleeful an adult comedy 
as you are likely to see screened this year. Missis. 
March and Cooper bring their disreputable roles virility 
that was faintly lacking in the original play. Miss 




Miss Hepburn wept herself when she saw a preview of Louisa May 
Alcott's immortal "Little Women." 



Hopkins succeeds in making her promiscuity compre- 
hensible and appealing. Edward Everett Horton also 
rates citation for his earth-bound Max Plunkett, the 
advertising executive. Mr. Lubitsch, however, is once 
more the chief reason for praising his film. 

Here is one director who has managed to keep ahead 
of his actors. Each of his films is stamped by his art. 
He couldn't do an anonymous picture that would re- 
main so long. Mr. Lubitsch's trademark is really the 
gondolier in his earlier "Trouble in Paradise" who sings 
to the moon of Venice in a gorgeous tenor while pro- 
pelling down the Grand Canal a gondola, .garbage laden. 

Humanity, this director has discovered, is essen- 
tially funny and each of his films reiterates it. He 
has the gift of running up a .springboard that points 
to romance or tragedy, only to leap therefrom into 
comedy. Never has he performed this trick more deftly 
than in "Design for Living." 

High Spots 1 : Plunkett threatening Chambers and 
supplying, thereby, the curtain lint for Chambers' play 
. . . Chambers watching the audience responst to his 
comedy . . . Curtis and Chambers, when Gilda has left 
Hum both, drowning Dun- grief with mounting 
holic dignity. 

CON of a Berlin clothing store owner, Ernst Lubitsch 
^ deserted a clerkship to go on the stage. When movies 
were still in knee pants, his "Gipsy Blood," starring 
Pola Negri, introduced him to America. 



The New Movie Magazine, Febi~uary, 19S4 



51 



NEW PICTURES YOU 



One of few directors whose growth has kept pace 
with the cinema's, he came definitely into his own with 
the advent of talking pictures. 

He is small, swarthy, with dark, clever eyes and 
pomaded black hair. An equally black cigar is prac- 
tically an additional feature. He is a sleek dresser, 
favoring blues and light browns. His enthusiasms in- 




"Duck Soup" presents the four mad Marx Brothers at their maddest 
and who can be madder than the Marxes? 



elude philosophy, pinochle, poker, cur dogs, hamburgers, 
Schubert's Unfinished Symphony. His chief outdoor 
pastimes are horseback riding and running — not walk- 
ing. Among his detestations are professional reform- 
ers, caviar, bad beer, drunks, rattling windows and the 
never successfully accomplished task of parking his own 
automobile. 

Eskimo — A A 

Directed by W. S. Van Dyke. 
Released by Metro-Goldwyn-Mayer 

TPHE clash of the Eskimo code of conduct with white 
*■ men's villainy and the scarcely more merciful white 
men's law is the foundation of this fine and simple story 
which is developed against some of the most magnificent 
polar backgrounds ever filmed. 



UNSTARRED EXCELLENCE 

Subordinate players, this month, win 

citation as follows: 

PAUL LUKAS, for his gentle, wistful Dr. 
Bhaer in "Little Women." 

JAMES BELL, for his agonized convict 
Slim, in "Day of Reckoning." 

MYRNA LOY, for displaying all quali- 
fications for stardom in "The 
Prizefighter and the Lady." 

ETIENNE GIRARDOT, for his irascible 
Dr. Doremus in "The Kennel Mur- 
der Case." 

EDWARD EVERETT HORTON, for his 
deftly comic Dr. Bibi in "The Way 
to Love." 



Geographies have held out on us as far as the 
Eskimos are concerned. Any sixth grade pupil knows 
that the fur-wearing people of the frozen North spear 
seals, live on blubber and dwell in snow houses. Geog- 
raphies have omitted one important item that the grand 
film directed by Mr. Van Dyke emphasizes. Eskimos 
are among the best natural actors in the world. 

A picture play with nine-tenths Eskimo talent and 
laid in the polar regions sounds like something that 
could be sandwiched into the program between the 
newsreel and the feature without too much distress to 
anyone. Actually, the cinema that has been made from 
these elements is scenically gorgeous, dramatically 
honest, sympathetically directed and superbly acted by 
folk who, until the M-G-M unit penetrated their arctic 
village, had never seen a film or a movie camera. 

There is much splendor of sea and sky; snow and ice 
floe. There is also violent action involving the harpoon- 
ing of a whale, walrus hunting, caribou hunting, and the 
slaughter of a bear. These are "Eskimo's" minor 
merits. Its major distinction is the sincere, dignified 
acting by actors who get no credit in _the film. This 
omits the probably unpronounceable actual names of 
the ruggedly handsome young man who takes the part 
of the hunter Mala and the truly beautiful native girl 
who plays his wife. Whatever they be, their owners 
have done a job that professional actors might 
envy. 

Ihe intelligent skill with which the Eskimos in this 
epic of the far North enact their parts is astounding. 
There is no clumsiness, no hint of camera shyness in 
their portrayals. They, chief characters and minor 
alike, are far better than the few white folk who appear 
in the film. These last, to be sure, were mostly ama- 
teurs but so were all the Eskimos. 

The story deals with the life of Mala, great hunter 
of his village, whose first wife is debauched and killed 
by white treachery. In revenge, he drives a harpoon 
into the scoundrelly captain of the trading schooner. 
The remainder of the plot is occupied chiefly with his 
struggle for freedom and the determination of Royal 
Canadian Police to get their man. 

Mr. Van Dyke has made films in far places before. 
None of them has the beauty, scenic and spiritual, or 
the insight into a strange people's existence ' that 
"Eskimo" possesses. It is a simple and moving story, 
magnificently told. 

High Spots: The Eskimo village revelry after the 




Max Baer, the fighter, makes a swell film debut in "The Prizefighter 
and the Lady." The lad is a real hit. 

roalrus hunt. . . . Cockleshell boats closing in upon the 
dying whale. . . . Bulls of the caribou herd fighting 
with locked horns. . . . Mala's flight from the police 
station across the desolate snow. . . . The ponderous 
grinding of the polar ice pack and Mala and his be- 
loved, Iva, walking out across, toward extinction. 



52 



The New Movie Magazine, February, 1934 



SHOULD SEE AND WHY 



Little Women — AA 

Directed by George Cukor. Released by RKO Radio 

A BOOK that was Grandma's and Mother's childhood 
•'* delight has been taken down from a Bhelf of the 
past and made into a film that is filled with wistful 
loveliness. Girls in the 1860's wept their eyes out over 
"Little Women." Girls and their brothers and their 
fathers and mothers in 1934 will lie grateful, when the 
picture play is shown, that the darkened house conceals 
their t.ars. 

Praise can lie given definitely to Katharine Hepburn 
for her exquisite performance as Jo; to the fine abilities 
of the cast that supports her; to the sensitive direction 
of George Cukor. There is much left over for the 
valiant unknown who first induced RKO to picturize so 
aged and simple a* tale. 

The story is dated, as definitely as a Currier & Ives 
print or Godey's Lady's Book fiction. It deals with 
people and with a time as different from the present 
as pantalettes are from step-ins. Mr. Cukor has re- 
sisted the temptation to taint the film with even the 
faintest trace of burlesque. He has withstood, quite 



f 

. — • • 






1 I--- 

f - J 


U9. 


1 


fcjBc^'.£->>^ 







Ann Harding gives a charming performance in "Beautiful," he 
newest picture, while Nils Asther lends effective aid. 



as courageously, any impulse to distort the book's 
musty, sentimental flavor. In consequence, he and Miss 
Hepburn, Paul Lukas, Joan Bennett, Frances Dee, Jean 
Parker and their associates have brought to the hard- 
boiled violent present, an authentic echo of a sweeter, 
serener past. If "Little Women" doesn't tear at your 
heart, you just haven't any. 

It may be the pathos of the tale that will make you 
weep. It is quite as likely that you will snivel over 
so perfect a portrayal of another time — happier per- 
haps — when fidelity and piety and long suffering pa- 
tience and a lot of other now outworn virtues still 
ruled mankind. 

Miss Hepburn as Jo, adds another tender characteri- 
zation to her growing list of unforgettable portraits. 
With her young lioness face and her rough, stirring 
voice she not only portrays emotion, but makes her 
audience share it. Miss Hepburn has just completed 
the last picture in her contract, "Trigger." For a time 
after this appears she will be missing from the films 
for she is going to New York to appear in a stage 
production this winter. 

Joan Bennett, Frances Dee and Jean Parker are Jo's 
three sisters — Amy, Meg and Beth. Douglass Mont- 
gomery plays Laurie with freshness and skill, but 
honors next in rank to Miss Hepburn's must go to Paul 
Lukas for his gentle pathos as Dr. Bhaer. The settings 
heighten the quaint loveliness of the old fashioned story 
which Mr. Cukor has transferred with such tender care 




You will love Morie Dressler's work in "The Lote Christopher Bean.' 
This grand old actress is at her very best in this film. 



from print to celluloid. Miss Hepburn, herself, wept 
when she saw a preview of "Little Women." That prob- 
ably makes it unanimous, to date. 

High Spots: The four sisters, slutting at eventide 
beside the old piano. . . . The sickroom scene with the 
sad accompaniment of falling rain. . . . Jo's attic prayer 
for her sister's recovery. . . . Dr. Bhacr translating a 
Hi i inn,/ song for Jo. 

After Tonight — B 

Directed by George Archainbaud. Released by RKO-Radio 

HP HE Hollywood bedtime-story tradition that has 
A wrecked many other might-have-been-good pictures 
has done its best to ruin this film of wartime spies in 
Austria. The logical tragedy has been jumped over in 
"After Tonight" with all the grace of a pole-vaulting 
hippopotamus, and what might have been a moving 
story goes to pieces in its last five minutes. Here, as 
often before, Hollywood, when the unhappy ending 
looms, has said hastily: "And so they were married 
and lived happily ever after" and then has gone through 
the motions of tucking a presumably moronic audience 
in for the night. It is better to be depressed by logical 
tragedy than gypped by a false ending. 



■ ww r -- , J " --'■ 




Maurice Chevalier displays all his old charm in "The Way to Love.' 
but the plot is one of those things. 



In "After Tonight," you have an excellent cast, 
headed by Constance Bennett as a Russian spy in 
Vienna and Gilbert Roland as Captain Hitter of the 
Austrian Intelligence. You have also more than com- 
petent directing by Mr. (Please turn to page 101) 



The Neio Movie Magazine. February, 1934 



53 





HO L L V %V O O D 



FASH I O IV S 



Helen Vinson, Fox star, features the 

exaggerated epaulet shoulder in this 

smart winter afternoon suit 

A smart little afternoon suit in battleship gray lavishly 
trimmed with gray caracul, a pert little beret made of 
material to match, black kid shoes, a black leather 
purse and gray suede gloves complete this charming 
ensemble worn by Helen Vinson, Fox star, and espe- 
cially designed for her by Rita Kaufman, stylist for 
Fox Films. You can see her in the new Fox produc- 
tion, "As Husbands Go." 



A beret made of material to match 

is worn by Helen Vinson with a new 

gray afternoon suit. 




54 



The Neiv Movie Magazine, February, 193k 



NECKLINES 

BECOME IMPORTANT 

New and unusual collars add 
smartness to the business dress 





A large butterfly bow, caught by a clip in the center, 

forms the collar on this attractive dress worn by Irene 

Dunne in RKO's new picture, "Behold We Live." 

The New Movie Magazine, February, 1934 



In the Fox Film productic' 

and Sally," Claire Trevor introduces 

several smart new necklii 

tively worn with the business dress. 




The high and the low neckline 
silk or wool business dresses ore 
equally favored by Claire Trevor, 
Fox film star. 




55 




Mae Clarke wears a black moire crepe 
beret with a smart black crepe after- 
noon frock. 



A small brimmed sports hat made of 
wool is worn by Helen Vinson. 



SMALL HATS 

ARE FEATURED 

The small close-fitting hat con- 
tinues to be popular in Hollywood 




Patricia E'lis features the overseas hat 

in the new Warner Brothers' production, 

"Convention City." 




56 



The Neiv Movie Magazine, February, 1934 




An unusual small sports hat trimmed 

with a jaunty little feather is worn by 

Dolores Del Rio in the RKO production, 

"Flying Down to Rio." 





A small black velvet hat is featured by 
Madge Evans, lovely M-G-M star, in her 
next picture, 



'Transcontinental Bus.' 



Miriam Hopkins (left) wears a gray suit 
trimmed with caracul and a gray visor 
hat to match in "All of Me," a Para- 
mount picture. 



The New Movie Magazine, February, 193J, 



57 




Two glimpses of Lona Andre's ball. Miss Andre gave one of the 

big parties of the month and had all Hollywood talking. Left: 

Lona Andre, Jimmy Dunn and Verna Hillie. 



Here is your chance to visit the exciting 
movieland parties with GRACE KINGSLEY, 
New Movie's Hollywood Society Reporter 



Movieland Goes Partying 



10UISE FAZENDA had to rush into her party in 
her "Alice in Wonderland" make-up, as one of 
_j those funny queens ! Louise and her husband, 
Hal Wallis, the producer, were giving the party 
in honor of Mervyn Leroy and his bride-to-be, Doris 
Warner, and Louise had had to work late. 

"My, how fast you do have to run to stay in the same 
place!" quoted Louise, "at any 
rate, in Hollywood! Here I've 
been playing funny characters 
all my life!" 

Louise ran upstairs then to 
change to a black velvet eve- 
ning gown, trimmed with white 
lace, and tight-fitting — in 
which she looked very queenly 
indeed. 

Doris Warner looked lovely 
in a black velvet evening gown, 
made tight-fitting. 

It was something of a bach- 
elor party at that, as Dick 
Powell, William Powell and 
Phillips Holmes, also Jack 
Warner, Eddie Horton, and 
Tullio Carminati, all were 
there, but all unaccompanied by 
ladies. So the ladies were as- 
sured of a lot of attention. 




Grant Mitchell, Jetta Goudal, Eddie Lowe, 

Lil Tashman, Harold Greer, Charles Ray and 

Mrs. Alice Glazer at the Goudal party. 



Other guests included Thelma Todd and her husband, 
Pasquale di Cicco; Mr. and Mrs. Pat O'Brien, Buddy 
De Sylva, Minna Wallis, Mr. and Mrs. Joe E. Brown, 
Mr. and Mrs. Paul Muni, Gene Markey and Joan Ben- 
nett, and others. 

Mervyn Leroy simply didn't leave his fiance for a 
moment, so far as I could judge, but he was teasing 
and kidding her a lot, and Hal 
Wallis reminded her that, ac- 
cording to the German saying, 
"Those who love tease." In 
any case, she seemed to like 
being teased ! 

Joe E. Brown was talking 
about flying — a sport he is 
lately inclining toward, much 
to the dismay of his wife. 

Dick Powell sang for us 
charmingly, to his own accom- 
paniment. 

"I like to hear people play 
their own accompaniments," 
said Louise, as we sat together, 
"somehow it's more charming 
— less formal." 

A buffet supper was served, 
and some of the guests played 
cards, including Eddie Horton, 
(Please turn to page 70) 



58 



The New Movie Magazine, February, 193 b 



Q Mr-. Thomas M. Carnegie, Jr. de.erts 
New Ynrk to spend lirr winters mi 
Cumberland Island '•!! ill nrjiia. 

In the Bummer she is at Newport in het 
lovely house. She loves animals and her 
favorite fox terrier, H 
where with her. She ia a deft and delight- 
ful hostess and her Bhrimp Newburgh, 
southern style, i- excelled only by her 
Georgian wild turkey villi wild rice 
She always smokes Camel cigarettes. 



"I NEVER TIRE OF 

THEIR FLAVOR" 

"Tln-\ alwa) - taste so pood. They 
are smooth and rich and certainly 
prove that a cigarette can be mild 
without being Hat or sweetish," 
says Mrs. Carnegie. "Camels 
never make my nerves jumpy or 
ragged, either. And they're so 
popular that keeping enough in 
the house over week-end- is a 
problem." 

That is because steady smokers 
turn to Camels knowing that they 
never get on the nerves. People 
do appreciate this. You will like 
the smooth flavor of the costlier 
tobaccos in Camels. For a cool 
and mild cigarette that you enjoy 
no matter bow many you smoke, 
try Camels. 

CAMELS ARE MADE FROM FINER, MORE 

E XPENSIVE TOBACCOS THAN ANY 

OTHER POPULAR BRAND 



Copyrluht \m\ 

It. J Ki'ynnlrln 

TuMiccn Cumpuny 




(Z/tt£ 




News of the New 



THE new leisure is a problem for 
statesmen, what with snorter hours 
for work and longer hours for play. 
But women know what to do about it. 
The tea hour — or the cocktail hour, if 
you wish — has taken on great im- 
portance in the modern social scheme. 
This longer leisure hour is the hour 
when the busy woman really finds her- 
self. 

In a well-tailored suit or a smart 
business dress or a becoming cotton 
frock for housework, you may be all 
efficiency. In the bustling hours spent 
in these clothes you do the work of the 
world — or a large part of it, anyway. 
But when you slip off these clothes you 
slip out of the workaday world. 
Dressed in one of the lovely late after- 
noon gowns you develop all sorts of 
charm you never knew you possessed. 
No matter how well endowed you are 
with business or professional genius, 
housewifely skill, the power to shine 
on local committees, you long for a 
chance to express your feminine per- 
sonality, to be your most attractive 
self. And the late afternoon social 
hour, spent in a most becomingly in- 
formal costume, gives you your chance. 
Dress for the new leisure is varied. 
Sometimes it is of the formal pajama 
sort. Sometimes it is a tea gown that 
might have been copied from an Ed- 
wardian portrait. It carries an air of 




luxury. The colors are rich and lovely. 
The fabrics are soft and beautiful. 
Sometimes it is of crepe, sometimes 
of satin, sometimes of velvet. Short 
quilted jackets give additional warmth 
to sleeveless crepe foundations. Velvet 
is warm enough without a jacket, 
though the sheerer velvets are not 
too heavy for heated rooms. The 
fashion for ornate and diversified 
sleeves gives a chance for the utmost 
becomingness. It makes for variety, 
too. There is something to suit every 
style, every personality, in fashion, 
fabric and color, in the new late after- 
noon clothes. 

So don't let yourself grow drab and 
monotonous. If you are tied to a desk 
or the kitchen stove, to a mending 
basket or the professional woman's 
busy routine, get into a special sort 
of gown at the tea and cocktail hour, 
and take advantage of the new leisure 
to get acquainted with yourself as well 
as your friends. 




IN spite of the fact that housekeep- 
ing is a far more complicated busi- 
ness than it was twenty, even ten or 
five, years ago, the housekeeping wo- 
man is freer than ever from work and 
worry. Housekeeping standards are 
higher. Just on the subject of food, 
she must know more about more things 
than her grandmother ever dreamed 
of — germs and vitamins and calories 
and all sorts of other factors that en- 
ter into modern health and dietetics. 
She must be able to manage a com- 
plicated business and keep it up to an 
ever advancing, ever rising mark. But 
a huge army of trained workers is al- 
ways at her service, producing fin- 
ished food products ready for her use. 
They are products far superior to 
those that could usually be turned out 
at home. All the big food concerns 
work under conditions of cleanliness 
and accuracy — and knowledge, too — - 
that couldn't possibly be duplicated in 
the private kitchen. They employ 
expert dietitians and scientific investi- 
gators to carry out the most thor- 
ough-going experiments and research 
in the kind of food they handle. Their 
work safeguards the family health — 
and saves the housewife time, labor 
and nerves. 




ONE thing that makes housework 
easier and pleasanter to do now 
than it used to be is the size of the 
kitchen. Just try doing it in a sixteen 
by twenty kitchen — and in one of the 
new little ones that up-to-date apart- 
ments and houses boast. They are as 
compact as the kitchens on dining cars. 
That is the cause of one big saving of 
time. And the miles saved in walking 



every year would make a high mara- 
thon score. That's another big time 
saver. 

The favorite shape for these little 
kitchens is oblong, a good deal longer 
than wide, but not very long, either. 
The wall space is fitted with all sorts 
of cabinets, each one designed for some 
particular use. Sometimes the stove 
has a top that can be folded down 
over it when the heat is off to make 
a table — incidentally to keep the heat- 
ing fixtures free from dust. But dust 
doesn't find much place in these shin- 
ing, smooth new kitchens. They are 
painted and glazed and enameled from 
floor to ceiling. 

An interesting color scheme is as 
much a part of the kitchen as it is 
of the living room. One young house- 
wife whose pots and pans are of 
gleaming copper has a kitchen tiled in 
a soft, warm but light brown, with 
cream-painted ceiling and walls above 
the tiles. The curtains that hang 
straight at the sides of the one big 
window are of light brown net. 

Black and white is a favorite kitchen 
color scheme. In one kitchen using this 
scheme there are white muslin curtains 
dotted with bright red, red oilcloth 
cushions are used on the white chairs, 
and red enamel double boilers and tea 
kettle and saucepan are used on the 
stove, or ranged in neat rows on white 
shelves between meals. 




AS a nation we have long been ath- 
letically minded. And we have gone 
in for corrective exercises and setting- 
up exercises in a big way, too. The 
new idea about exercise is that it's 
not merely something to be done for 
the sake of one's health and figure. 
It's fun, besides. School gymnastics 
are carried on in that spirit nowadays. 
And older girls, out of school, get to- 
gether in groups to go through all 
sorts of stunt exercises. They don't 
think much about whether they are 
gaining or losing weight. They have 
a good time. Competition between dif- 
ferent members of the group makes the 
work interesting. An instructor makes 
it expert. Result — a diversion that is 
delightful in itself and most exhilar- 
ating to health and spirits. 

The small kitchen makes up in con- 
venience what it lacks in size, for 
every foot of space is utilized. It is 
easier to prepare a five-course dinner 
for half a dozen guests in a kitchen 
that measures six by ten than in one 
that measures sixteen by twenty. 



The Inside of the Hollywood Social Game 




plans for a coming production to a chief executive. 

I saw — and heard — an actor asking a director for a 
certain part in a picture, and explaining why he and 
hi' alone would lie perfect for that part. As far as I 
could make out, the idea of all the guests was to use 
the party as an opportunity to further some schemes 
of their own. Baldly, too, and without camouflage. 

The executives didn't seem to be minding it — in 
fact I heard one of them say to a group of writers 
who were on a committee to get better conditions or 
something or other for screen writers: "You writers 
are just ridiculous when you complain that you can't 
gel tn us producers. Here in Hollywood where every- 
body goes to the same parties, you see us all the 
time." 

What a lot of fun that producer must have at 
parties. I thought, if he expects his employes to 
approach him on business, That's what he expects, 
and apparently that's what he rets. It was a new 
idea to me who had always been taught that it was 
bad form to use a social event to further a business 
opportunity. 

Meanwhile, I was getting desperately hungry. The 
invitation was for seven-thirty. Allowing a half -hour 
I'm' the usual cocktails and appetizers, I had figured 
that dinner would be served about eight. There wen' 
buckets of cocktails and plates and plates of appe- 
tizers, and I did my duty by them. But now the tall 
Clock in the hallway pointed to eight-thirty, and there 
was no sign of a regular meal. I began wondering 
how the hostess was going to be able to serve that 
crowd. There must have been at least a hundred 
guests. 

At nine-fifteen, I got the answer. She didn't serve 
them, they served themselves. When she called out 



informally, "Come on into the dining room and get 
your dinner," there was a slow, casual exodus toward 
a huge l'oom, where a huge table was laden with all 
sorts of food. Plates were piled high on the table. 
and silverware, neatly folded in napkins, lay by the 
plates. 

The course of procedure is the same as at a cafe- 
teria. You take a plate and the silverware wrapped 
in a napkin, and you stroll around the table helping 
yourself from the various platters of meat, salads or 
what have you! The hostess provides everything but 
tables to eat from and chairs to sit on. You stand 
up. wedged between a couple of other fellas, and try 
to manage your plate and your fork and your food. 
After I had been in Hollywood a little longer. I 
learned to take only food that did not need to be cut. 
because I simply couldn't manage a knife. Toward 
the last of my visit, 1 ate my dinner before I left for 
a buffet-scramble, because I like my meals at a table — 
and I like them hot and on time. 

Buffet suppers are the favorite indoor sport of 
Hollywood, probably because a hostess can entertain 
more people that way. and she need never be afraid 
of insulting the ones she couldn't accommodate at a 
regular sit-down dinner. One hostess said to me: "I 
hate buffet suppers, but I always have to have them. 
You see, I must invite my most intimate friends 
and that's twenty to start with!" Imagine having 
twenty intimate friends! 

Hollywood society moves in droves. The herd in- 
stinct is strong. The people run here and there, fol- 
lowing a leader, a fad. or a fashion. Like a flock of 
sheep. What one docs, they all do that is. all who 
want to be in the social swim. Beverly Hills is the 
fashionable town location; (Plea&e lnni In pagt 7(i) 



The New Movie Magazine, February, 1984 



59 



HOLLYWOOD 



The anonymous confession of 

a famous movie star who risks 

soul for a strange career 

illustrations by Earl Blossom 



IT was seven-thirty when Sarah came in with the tray. 
Sarah was my maid, a tall, rather forbidding-look- 
ing Englishwoman, who reminded me of Dickens in 
some of his least joyous moods. She had been in 
reveral times during the night to care for me, but had 
not dared to wake me. 

"He said you were to be made up and on the set at 
nine o'clock, Miss." 

I was. At nine sharp — without even so much as a 
look at the beautiful bungalow which had been made 
ready for me — I walked onto the Number One stage of 
Isadore Wentsch's studio, dressed as I had been that 
fateful night in Fritz Stresseman's study in the golden 
raiment of an Egyptian goddess. 

"Astra," said Fritz, not moving from the great arm- 
chair in which he sat beside the camera, "we'll do that 
fainting scene first. You know. You enter. You are in 
a daze. Your mind has left you. It has gone back four, 
five thousand years. Your strength leaves you, too. 
Your knees give way under you. You sink before the 
altar. You die." 

"But boss," protested Sam, "it ain't in the script." 

"What?" Fritz thundered. 

"This faintin' an' dyin' — it ain't in the script." 

"It is in the script, beginning today." 

Sam turned away. The lights came on. Everybody 
seemed to move at once — evei-ybody but the huge man 
in the great arm-chair. He was still muttering. I 
couldn't hear, but I knew that he was saying : 

"What's a script to Fritz Stresseman!" 

I know that Fritz's idea in letting me do the fainting 
scene first was part of his ever-recurring kindness. I 
knew the scene. Why shouldn't I? In a way, I had 
created it! And I didn't have to talk. There was no 
chance of my going suddenly "mike-shy" as they say in 
the sound studios. He thought it would be easy for me. 
But it wasn't. It was one thing to faint when you felt 
like fainting. It was another thing to do it on order, be- 
fore a camera, when you didn't feel like fainting at all. 

All morning we took the fainting scene and it wasn't 
until I was so weak from hunger and fatigue that I really 
did feel like fainting that I did it to the satisfaction of 
this madman with the yellow hair. 

"That'll do," he said at last, grudgingly. "You go to 
lunch. I'll plan the stuff for this afternoon." 

I was too tired to move. I just lay there where I was 
on the thick rug in front of the altar, with my head on my 
arm. I couldn't see my tormentor, but I could hear him, 
tramping heavily away over the loose boards of the floor 
in the outer studio. 



60 




The New Movie Magazine, February, 193b 



SLAVE 



I don't knov, how long I lay there; but after a while 

was a tap on my shoulder. It was Sarah. Sin- 
hail been to the studio commissary and had come back 
with a tray. It was typical of the whole relationship 
between this strange, forbidding woman and mj 
Sin- was always finding me prostrate with .grief, with 
deep, with fatigue always bringing me food, which. 
iniidentally. I alwaj 

That afternoon, Fritz was a different person. I was 
to get used to these quick transformations from the 
kind of man I had known on plane and boat, in restau- 

and motor ears, and the fiend incarnate oil 
was under the spell of his own creation. 

"We've done enough for the first day," ' said. 
[We'll just chat about the picture." 

He dragged his great arm-chair across the set to 
where I s..t with my tray still on the floor with my 
back against the altar — and, settling himself comfort- 
ably and slowly filling a gnarly, twisted old pipe, he 
began to tell me the story of ( Please turn to page 77) 



THE PEOPLE IN THE STORY 



MOLLY, ths little girl from Codii. Ohio, virtually 

hypnotized into leaving the husband she adores and 

living a life of I es to become "the mystery woman of 

the screen." 

I KAVIb, the husband, a young singer, touring with 

Molly in vaudeville, ignorant of the role in life ond i.l 

films thot his wife is to be required to play. 

FRiTZ STRESSEMAN, world-fomous d rector and 
star-motor, who, glimpsing Molly in the Brown Derby, 
dotermines to moko her his neit groat star. Traces her 
to the theoter and i-nmodiatoly offers her a dazzling 
controct — providod s'io will place herself completely 
in hi; hands. 



He swepf me into his great arms. "My 

darling, I thought I had lost you." he 

whispered. I will never forget the thrill of 

that moment. 




The New Movie Magazine, February, 1934 



61 




The busy days of Baby 
Leroy, youngest of the 
film stars, are carefully 
planned and run along 
smoothly according to 
prescribed schedule. 






GO ON GROWING HEALTHY 

BABY LEROY 



He will — because nothing ever inter- 
feres with his simple diet and regular 
routine of play, sleep and sunshine 



HERE'S a regular little star if ever there was 
one. And though he has played leading roles 
in two Paramount pictures and is up for an- 
other, he has never let cameramen or directors 
or lovely ladies interfere with the timed-by-the-clock 
regularity of meals and nap times. 

Baby Leroy wakes at six o'clock every morning. Or 
if, by chance, he opens his round blue eyes a little 
sooner, he must jabber and chortle to himself until six 
o'clock breakfast, taken in bed, or rather in crib, and 
served from a bottle — eight ounces of half and half — 
canned milk and boiled water. Then he takes it easy 
until 6:45 when he has his bath. 

At 7:45 he has his second breakfast — well cooked 
oatmeal or other cereal served with milk. 

Until 10:00 o'clock Baby Leroy plays in the sun- 
shine. Then he gets a glass of orange juice and sleeps 
until noon. 

At 12:00 he has luncheon consisting of cooked spin- 
ach, carrots, string beans or baked potato, a choice of 
apple sauce, pears, peaches, apricots — cooked — or a 
vegetable or chicken soup. Sometimes he has a piece 
of bacon. 

After luncheon he plays in the sunshine. 

At 2:30 comes an eight-ounce bottle of milk — half 
canned milk and half water. 



62 



Then he takes a nap for several quiet hours. 

Awake at 4:30, Baby Leroy has a sponge bath, fol- 
lowed by crackers or zwieback. 

Then he plays in the sunshine. 

Dinner at six consists of chicken broth and cooked 
vegetables. 

At seven comes a bottle of milk and then sleep. 

That is Baby Leroy's every-day schedule. When he 
is working he is taken to the studio in a car after his 
7:45 cereal. He works in front of cameras for one 
hour in the morning. This time is broken up so that 
he is not under the lights for more than seven minutes 
at a time. 

Between scenes he is taken immediately outside the 
stage into the sunshine to play. At 10:30 he takes 
his regular nap no matter how important the scene. 
Luncheon is at the same time, with a short time for 
outdoor play following. Then back on the set for 
about thirty minutes and (Please turn to page 85) 




l> — \J 



To obtain diet and 
irp recipe circulars please 
turn to page 74 



The Neiv Movie Magazine, February, 193 k 



Fight Pneumonia 



It ravages with the speed of a forest fire 




PNEUMONIA causes the death of ap- 
proximately 100,000 people in this 
country every year. Many of these deaths 
result because the speed with which it 
attacks the patient is not matched by 
promptness of defense. 

In rare instances, a person apparently in 
the best of health is stricken with pneu- 
monia. But usually the disease is con- 
tracted by one whose vitality has been 
lowered by exhaustion or exposure, or 
who has been dragging himself around for 
several days through sheer will power or 
stubbornness, while suffering from a pro- 
tracted cold. 

During the critical stages of an attack of 
pneumonia the patient's chance of recov- 
ery often depends largely upon well-trained, 
faithful nursing. 









31 



nrlr 



Kjfr 



There is a serum which is of great assis- 
tance in some types of pneumonia. It has 
helped to save many lives. If your doctor 
advises its use, have it administered at the 
earliest possible moment. Time is vital. 
A fire may be quenched when small, but 
becomes uncontrollable as a conflagration. 

While victory over some diseases can be 
achieved only by months and sometimes 
years of patient resistance, the battle 
against pneumonia is usually won or lost 
in a comparatively short space of time — 
sometimes it is a matter of days or merely 
hours. Meet the speed of pneumonia's 
attack with greater speed in defense. 

Metropolitan Life Insurance Company will 
gladly mail, free, its booklet "Just a Cold? 
Or" — Address Booklet Dept. 234-B. 



Metropolitan Life Insurance Company 



Frederick H. ECKER, President 



One Madison Ave.. New York, N. Y. 



/ A ■ if Mo: ;.■ Maaa ;.'. /•■hniar:/ Uii 



CO 




SHE 
STUDIED 



TO BE A 



DENTIST 

By 
ANN BOYD 






Wynne Gibson says good teeth are the most important feature in 

the beauty count, and that the magic of modern dentistry and 

dentifrices can achieve them for anybody. 



WHAT is the most important 
feature of the face in Holly- 
wood?" we asked Wynne Gibson. 
"Well, unless you are being 
introduced to the instalment collector," 
she said, "you usually smile, don't you? 
And in smiling your teeth flash into 
prominence. If they are nice, well kept 
teeth and you smile just so — hold it, 
please! — even the instalment collector 
may forget what he came after and you 
can tune in on Rudy Vallee every Thurs- 
day evening without fear, until the i.c.'s 
boss yanks him out of his bedazzled daze 
with: 'Get the payment ... or else the 
radio' ..." 

Miss Gibson really takes this matter 
of teeth seriously because, as she ex- 
plained, she once studied dentistry. She 
thought of being a D.D.S. before she 
thought of being a star. 

"Since smiles are so important in 
Hollywood," Miss Gibson went on, "I 
think I would be right in saying that 
good teeth are one of the most impor- 
tant — if not the most important — feature 
in the sum total of a girl's bsauty. And 
yet we don't hear of girls with real 
ability being held back because of poor 
teeth. Thanks to the magic of modern 
dentistry and the enormous improve- 
ment of teeth that can be achieved by 
good care, it's safe to say that any intel- 
ligent girl can have lovely teeth if she 
wants to. 

"Diet is essential to healthy teeth," 
she says firmly, "and most important, I 
believe, is daily care. Thorough brush- 
ing, twice a day, is my rule and I brush 
the gums as well as the teeth. This 
stimulates as well as toughens them, and 
if the circulation in the gums is good, 
your teeth have a better chance to com- 
bat the effects of the impositions we 
constantly make on our defenseless 
chewing equipment. 

"Having studied dentistry myself, I 
probably appreciate these facts more 
keenly. And my motto is: 'Be true to 
your teeth or they will be false to you.' " 



ANY GIRL CAN HAVE THE KIND OF TEETH HOLLYWOOD APPROVES IF SHE WANTS THEM 
64 The New Movie Magazine, February, 1934- 



IWO-SKIN treatment 

solves age-old problems 



Urink/cs now known to 
begin in I NDER SKIN 

Dryness corrected by 
treating OUTER SKIN 



You have TWO SKINS! 

That's the surprising fact which 
explains where skin faults really be- 
gin. The skin faults you ilread most. 
Lines. Wrinkles. Dryness. Roughness! 

In your under skin, lines and wrin- 
kles have their earliest beginnings. 
By the proper care of this skin, you 
can prevent them. 

In your Outer skin come dryness, 
roughness, chapping. You can keep 
this skin moist, satin-smooth by using 
a cream made especially for it. 

Here's the way: 

Oil Cream for the Under Skin — Be- 
cause your under skin shrinks when its 
oil glands fail, your outer skin falls into 
little lines and creases — eventually 
wrinkles! For this under skin Pond's Cold 
Cream was made. Oil rich. And pene- 
trating! This glorious cream sinks deep, 
reaches the under skin. Supplies the oils 
it lacks. Soon your under skin grows firm. 
Little lines smooth out — as if by magic! 
Because this cream is rich in oils and 
penetrates so deep, it is a marvelous 
cleanser. Yourskin teels wonderfully fresh 
and clean, as well as toned after using it. 

Greaseless Cream for the Outer Skin— 
Tn keep your outer skin moist and smooth, 
an entirely different cream was made— 




<l9)(CrS. ZHc?iry J'ield of Chicago. TMllingty beauti- 
ful, one of Society's smartest women, Mrs. Field uses Pond's Creams. She keeps her under skin 
firm with Pond's Cold Cream, her outer skin soft and smooth with Pond's Vanishing Cream. 



Pond's Vanishing Cream. Quite grease- 
less, this cream contains a marvelous sub- 
stance which actually restores moisture to 
the skin. It smooths away roughness in 
one application, and is a godsend for 
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The New Movie Magazine, February, 193U 



65 



She Can't Make Up Her Mind 



she's that way, or because I was to 
know that she didn't give a merry 
hoot, she was dressed as unmovie-like 
as possible, in tweed skirt and high 
collared waist, very much after the 
manner of a high-powered Wall Street 
secretary on her day off, but unlike 
such a secretary, if my memory about 
secretaries serves' me aright, in that 
she had no make-up, not even a dab 
of lipstick. All this is immaterial save 
as characterization. Healthy twenty- 
two does not demand much make-up 
at three in the afternoon. 

Aside from that, the foyer rugs were 
in a roll and the drawing room furni- 
ture was in its summer covers. Also 
the servants were out, so I might have 
a drink if I'd mix it myself, but as for 
Miss Sullavan she would have a cup 
of tea, only she didn't know how to 
make tea. Naturally when I remarked 
that I'd make the tea and dash off a bit 
of cinnamon toast, too, if she liked, 
she immediately did not like it and de- 
cided she'd have a glass of milk, only 
she wouldn't really have anything. 
Also she took one sweeping' look up 
and down my rotund facade and de- 
cided she did not like the way my hair 
was combed, either. 

Thereupon I decided that I'd take a 
glass of plain water and have a look 
at the view out the front window. They 
were both good. 

Things were certainly going just 
dandy. 

NOW when a man who obviously 
ought to know better insists on 
surveying the downtown skyline from 
a seventeenth story window, with a 
very young actress in the immediate 
interior picture, she does not like it 
even if she is absolutely indifferent, 
absolutely. 

Clyde Beatty's system is to look the 
dangerous ones in the eye, while mine 
is to look out the window. Both are 
good, when they work. 

"You are terribly absent-minded," 
Miss Sullavan thrust out at last. 

"I wish I were." 

She got up and walked past my 
proffered lighter to select for herself 
a match. She had quite a time finding 
one that would do. 

"I despise interviews," she remarked, 
not bitterly, just abstractedly as though 
she were talking- to herself. 

"I do, too," I replied in a most un- 
professional manner. "You dislike in- 
terviews because you know what they 
will ask, and I dislike interviews be- 
cause I know what they will say." 

Miss Sullavan's slender five feet two 
began to get just a shade tense and 
dynamic. I took note that her blond- 
brown hair and her eyebrows and 
eyelashes all matched — and just inci- 
dentally that the eyelashes were per- 
fect. She's the sort from whom you 
do not gather all the details at one 
glance. 

"Maybe," she tossed back at my dusty 
observation, "but you can't tell what 
I will say, because I won't say it. I 
do not tell the 'story of my life.' " 

"It's too short for my purposes any- 
way," I observed in my most gallant 
manner. "Let's take a big broad sub- 
ject like the movies." 

It seems that despite having been 
born to the screen a full-fledged star, 
Miss Sullavan has quite a few mis- 



(Continued from page 41) 

givings and doubts about the motion 
picture. 

"You can only step so far, move so 
fast and hold your face just so," she 
complained. "On the stage your lines 
and how you speak are all important, 
but in the movies it is how you move, 
and where. I'm not used to that." 

"And, I suppose you are opposed to 
that?" 

"No, I'm not. I'd like to see the 
movies move more and get a little 
more nonchalant about it. Of course 
to me it is more difficult to keep inside 
the chalk marks and to turn the best 
ang'le toward the camera than it is 
for the people who have grown up in 
the studio and have been so trained in 
the technique. 

"Out in Hollywood so many things 
that do not matter seem to matter so 
much. There's a terrible fuss about 
things." 

Miss Sullavan looked pensive and 
distant as though remembering some- 
thing unutterably sad. 

"Why do you know, they started in 
to try to make me all over before I 
started for Hollywood. I had just a 
tiny, tiny bit of a mole at the corner 
of my nose — there" — indicated by a 
finger-tip, and no silly red tint on the 
nail, either. 

"Would you believe it, they sent me 
six wires to please have the mole re- 
moved before I came out. I finally 
gave in and had it done, but it was 
fiard — you see I'd had that mole a 
long, long' time." 

"Something like two decades," I ven- 
tured just to be agreeable. 

She made a slight face at me and 
went on. "Besides that, they wanted 
one of my teeth rearranged just a- little 
bit. But on that I'll never give in — 
they get Margaret Sullavan 'as is,' 
from now on." 

After discreet consideration of the 
tooth issue, I am inclined to rule with 
Miss Sullavan. There is nothing- the. 
matter with her mouth but a tendency 
to -make sharp remarks. 

"And the re-takes," she went on. 
"Can you imagine, I spent half a 
day opening a door and entering a 
room. If I'd been that long getting 
out I'd be there yet." 

"Yes, but you've had the monotony of 
the stage, playing the same part night 
after night all throug-h a run." 

"There's no monotony in that — the 
part is new every night and for every 
audience. There are no two audiences 
alike. The laughs come in new places 
and the reactions are enoug-h different 
to keep the player interested always." 

"Then you prefer the stage?" 

I DO not prefer anything. I just 
want to be a very good actress." 

"In some fairly expert opinion you 
seem to rate pretty well now. You got 
far enough to get 'discovered for the 
movies' when a high-powered dh'ector 
saw you on the stage in 'Dinner at 
Eight.' " 

"Oh, I've just started. You see it 
is so hard and it takes a very long, 
long time to be a g-ood actress." 

Miss Sullavan was almost poignant 
in despair. 

"You know I want to be a good ac- 
tress, but I never want to be an old 
actress ■ — there's tragedy. I've seen 
them. 



"I may do something else entirely." 

"I don't believe it — but what, for 
instance?" 

"For instance, I've been thinking 
about taking a bicycle trip through 
Europe — just keep going until my 
money runs out and see — then what? 
I don't know much about geography, 
but I might end the trip at Angkor — 
where is that?" 

"Over in Asia, speaking of Europe 
— but why the etc., go to Angkor.' 

"Sculptures — miles of marvelous 
sculptures." 

""yOU'D better stay out of dentists' 

-*- offices and avoid the National Geo- 
graphic," I advised. "What's sculpture 
to you?" 

"Maybe it's because I'm interested 
in architecture," she guessed. "You 
see last week I decided to be an archi- 
tect." 

"And the week before that what were 
you going to be?" 

"Oh, yes, I was going to be a doctor 
then, so I could be of some use in the 
world." 

"Little Doc Sullavan," I taunted. 

"I might not do any one of those 

things " .she insisted, petulant 

again. "I may change my mind and 
have twelve children." 

"If you have twelve you will be 
bound to change your mind a couple 
of times," I observed, recalling silently 
the while that the best statisticians 
credit young women of the Margaret 
Sullavan type of educational and social 
background with an average of 1.2 
children per marriage. I have always 
suspected that the two-tenths would 
be the hardest to have. We did not \ 
take that up. 

It may be observed, however, in sup- 
port of young Miss Sullavan's maternal 
impulses that she has four or five pet 
dogs, located variously in Ossining, 
New York; Greenwich, Connecticut; 
Norfolk, Virginia, and Hollywood, 
California. Scattered like a sailor's I 
sweethearts — a dog in every town on 
■her itinerary. She keeps them away 
because she believes a dog has no life 
in New York, and since she can't make 
up her mind on breeds, she has both 
police dogs and Scottish terriers. The 
dour, stubborn Scots probably will win 
in the end. 

Of course Margaret may yet be a 
doctor or an architect, or go clucking 
over a brood of twelve. But again she 
may not. The movies may win. You 
never can tell. 

When out in Hollywood at Uni- j 
versal's studio she flocks by herself. 
She eats at the cafeteria lunch counter, 
forgetting about the "Indian Ro:m" 
cafe where the stars and executives 
sit aloof. She does not go to Malibu 
Beach, or the Brown Derby, or any of 
the places that stars go to see and be 
seen. When she grows older and solid- 
ifies her vocabulary she will be able 
to say more precisely what she really 
thinks about some aspects of the movie 
colony. She achieves a fair approxi- 
mation now. 

I've promised to look her up in five 
years "to see what the movies have 
done to you." 

"I'll have the same color hair, rnd 
the same teeth," she forecasts. "And 
I've got another mole they'll never see 
and can't get." 



66 



The New Movie Magazine, February, 1934 






pr 


-% 





AARY BRIAN'S lovely hands always play their role so charm- 



too... by the same makers. Deli- 



Mae West's Perfect Day 



a ten o'clock story conference with Mr. 
LeBaron today." "Oh, yeah," says 
Mae, remembering. 

9 A. M. A bridge table has been set 
up in the living room near the divan 
that looks out toward the Hollywood 
hills. The table is set with a half 
grapefruit, a low bowl of Cecil Brunner 
roses, two morning newspapers and sev- 
eral magazines just arrived through 
the mail. A colored man in a white 
jacket (no relation to Libby) is dividing 
his time between the breakfast table 
and a blond girl busy attaching a hair 
dryer to an electric plug. As Mae enters 
the White Jacket drops everything to 
make a bee line to the kitchen and the 
beauty parlor operator pauses to greet 
her famous customer. ''Had your break- 
fast? Well, I'll only be a minute, then 
we can get to my hair." White Jacket 
brings French toast with strips of 
bacon, marmalade and coffee with 
cream. The beauty parlor blonde is in- 
terested. "You don't diet, Miss West?" 

"No," says Mae, "I eat what I want. 
If I notice I'm gainin' a little I get hold 
of a trainer and exercise it off. My 
weight hasn't varied in three years. I 
just tipped the scale at 122 pounds! 

Mae doesn't eat much. The little 
blonde gets to work almost immedi- 
ately. There is to be no shampoo, only 
a "set." As the wave begins to take 
form Mae keeps up a running fire of 
conversation and daily orders to Libby: 

"TS my brother, Jack, up yet? (Jack 
A has an apartment adjoining Mae's.) 
Call my trainer and tell him not to 
come today, I'm busy on a story con- 
ference. If Mr. Timony (Mae's mana- 
ger) doesn't call before I leave tell him 
I've gone to the studio and I'll see him 
later. And check with the publicity de- 
partment about those portraits I'm 
supposed to make this afternoon. 
About that interview appointment, I 
don't know whether I want to give any 
more interviews or not. I've talked so 
much for publication I'm sick of readin' 
it myself." The card table has been 
cleared and its surface is now occupied 
by a make-up mirror, a box of face 
powder and a lipstick. With only cas- 
ual glances into the mirror, Mae ap- 
plies her street make-up. If it was a 
studio make-up Libby would apply it. 

"You don't go in for suntan, or the 
dark powders do you Miss West?" 

"Me? Suntamied! Say, honey, 
woman's greatest weapon is her snow- 
white skin. The sun's swell for invalids, 
but I'm no invalid!" 

In the bedroom, where she's putting 
out Miss Mae's clothes, Libby Taylor 
nearly rolls with laughter. But even 
in her mirth she does manage to select 
(from a closet jammed with clothes of 
a like nature) a long, black velvet 
dress with a white collar, a short white 
broadtail coat, sheer black stock- 
ings, a small black turban with a nose 
veil. You'd have to be a keener 
searcher than Libby to find a sports 
costume in Mae's wardrobe. There just 
aren't any, as Mae so aptly puts it: 
"What's the matter with black velvet 
or satin in the morning, or any other 
time, if you're the black velvet and 
satin type?" 

9:45 A. M. (a very private inter- 
lude). A woman in black velvet and a 
white coat steps out of her town car 
and quickly into the doorway of a little 



(Continued from page 43) 

vine-covered Catholic church. Mae 
West is not a Catholic! But she finds 
peace in church ! Peace and a moment 
of meditation. 

11 A. M. For an hour the black town 
car has been speeding out toward the 
wide expanses of the Pacific Ocean. 
Orange stands, the Old Soldiers Home, 
funny little pink and blue houses come 
tumbling after one another to the view 
of the man and the woman on the back 
seat. This is not a regulation story 
conference between star and produc- 
tion supervisor. But it's Mae's variety. 
When there's something serious to be 
talked over, Mae drives it out. The 
same pencil-marked script that had 
been beside her bed is now in her hand. 
She flips over the pages reading parts 
of the action and dialogue as she goes 
along. ". . . . and so I'm dancing in this 
scene with the General. I'm wearin' a 
very low, decollete gown — very low, y' 
understand? The General's front is 
all covered with medals, big ones with 
points. As he draws me closer in his 
arms I look up and say 'General, do 
you have to wear all those medals?' " 
The supervisor of "It Ain't No Sin" 
laughs. "We don't know yet who will 
be in the cast," he says a moment later. 
"Maybe not," retorts La West, "but I 
do. I never wrote a scene or a bit of 
dialogue in my life that I didn't have 
some particular actor in mind. I 
couldn't work if I couldn't visualize in 
advance the actor who is goin' to play 
the role." LeBaron looks surprised. 
Surprise and amusement are appar- 
ently his chief reactions to this two- 
hour story conference on wheels. 

1 P. M. A drug store not far from 
the Paramount Studio. Mae at the 
soda fountain counter on a stool! 
While the rest of stellar Hollywood 
lunches smartly at .the Brown Derby 
or the Vendome Mae goes in for a bowl 
cf "the best chili and beans in town" 
at a corner drug stare. Except for the 
soda jei'ker who serves her this repast 
two or three days a week the stray cus- 
tomers do not appear to recognize her. 
"Working today, Miss West?" the 
"jerker" politely inquires. "Nope," 
says Mae, "I'm playin' hookey. I'm go- 
ing shopping with an old friend. Next 
to breathin' I'd rather shop!" 

3 P. M. For two grand and glorious 
hours Mae, and her Old Friend from 
Broadway days, have been on a shop- 
ping spree through smart, expensive 
Bullock's Wilshire. Now, Mae wouldn't 
want the Old Friend, or you, or any- 
body to know, but there's been con- 
siderable system to her shopping to- 
day. For instance, in the dress, coat, 
lingerie and glove departments Mae 
just couldn't find anything she par- 
ticularly wanted, but there was always 
just the right thing for the Old Friend. 
Things haven't been breaking so well 
for the Friend, if you know what I 
mean. She would protest she really 
couldn't afford to accent such things, 
the prices and everything, to which 
Mae just answers: "On, that. . . !" At 
the perfume counter Mae happened to 
remember there was a kid in the Para- 
mount offices who was just crazy about 
Sweet Pea perfume same as she was. 
A bottle is ordered! And let's see. Oh 
yeah! Charlie's kid needs a new coat 
now that winter is coming on. And 
Anna's mother is in the hospital. Why 
wouldn't she like one of these quilted 



robes? "My!" breathed the Old Friend, 
"Don't you ever buy anything for your- 
self when you go shopping?" 

U P. M. The studio dressing-room. 
Like her bedroom, the color scheme 
here is white-gold-and-coral. When 
Mae is working the pretty little three- 
room suite is her home. She has even 
slept here after a long siege of night 
work. A card table offers testimony 
she has had many meals in the small 
white sitting room. It is really her 
favorite family gathering' spot. As her 
car rolls slowly along "Dressing Row 
Avenue" (one of the two permitted 
within the studio g'ates — >Iae's and 
Marlene Dietrich's) she notices that 
Libby Taylor has arrived, aired the 
rooms, and placed long-stemmed tea 
roses in a white vase. "Tired?" Libby 
inquires affectionately, as she begins 
to spread make-up goo over Mae's 
white skin — the portrait sittings are in 
order. 

TIMONY, the ever present manager, 
arrives. So does her brother, Jack. 
Timony has many things to discuss, 
things as far in advance as Mae's con- 
templated trip to Paris, her long per- 
sonal appearance tour which is sched- 
uled to follow "It Ain't No Sin." Jack 
has spent the entire day looking over 
property in Brentwood and Beverly 
Hills, for Mae is California minded. 
She wants the first home of her life to 
be here. Jack has seen a house he 
thinks she'll like. "Can it be done in 
French? I mean can it be furnished 
in the pastel colors and satin-y things 
I want?" No, it turns out the house is 
Colonial. "Out," says Mae. And it is. 
"Can you imagine me, gingham ver- 
sion?" "What do you want?" inquires 
Jack, kiddingly, "a chateau?" Mae 
says: "Well, somethin' like it!" Tim- 
ony's secretary enters to remind her 
she is dining with Dr. and Mrs. Harry 
Martin (Louella Parsons) that evening. 
And, so, the portrait sitting which is 
really the reason for her being there, 
is somehow worked in. 

6:30 P. M. The Beverly Hills home 
of the Martins — one cf the few places 
where Mae accepts invitations. An 
early dinner has been planned because 
it is fight night. The popular D'oc Mar- 
tin, head of the coast Boxing Commis- 
sion, and Mae are great friends. They 
have a lot in common, their love of 
the game. At the table they discuss 
boxers all the way down the line to 
Max Baer and Camera. "What I'd 
like," says Mae, "is to own a couple of 
fighters. But they won't let me. I hear 
it isn't a refined business for movie 
stars!" Mary Pickford, also a guest, 
laughs. Mary likes Mae. Mae likes 
Mary. "She says she likes me because 
I'm so low down!" Mae kids Mary 
about that remark. But, as usual, the 
subject keeps returning to the boxers! 
"My dad was in the game and one of 
the best of his time. Lets of people 
think it's brutal but I've never been 
able to see how a game that keeps a 
man on his toes, in the pink of condi- 
tion, alert, keyed-up, like the box 
racket, could be considered anything 
but a darn healthy career for a man!" 

8:30 P. M. The Olympic Auditorium, 

Tuesday night. Mae and the Martins 

are on time but Mary is not with them. 

She never attends the matches. As Mae 

(Please turn to page 100) 



68 



The New Movie Magazine, February, 193 ' 



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The New Movie Magazine, February. 19.34 



69 



Movieland Goes Partying 



who is a regular bridge shark, Buddy 
De Sylva, Mrs. Pat O'Brien and Mrs. 
Joe E. Brown. And the radio being 
turned on for the Cocoanut Grove 
music, Doris and Mervyn danced, and 
Mervyn did a little jig for us. He was 
once a dancer, you know. 

Everybody drank toasts to Mervyn 
and Doris, and all the free men vied 
in making up beautiful toasts to Doris, 
who answered very prettily, while Mer- 
vyn pretended to be very jealous. 

Of course Louise was as amusing as 
usual. We wanted to see the baby, but 
Louise reminded us of how dreadfully 
queens in "Alice in Wonderland" 
treated babies. But she did finally let 
us get a peep at the child asleep in 
his pretty nursery. 

AND so our little daughter was per- 
mitted to remain up!" 

Mrs. Otto Kruger was talking about 
their little girl, who, in fairy blue, 
was allowed to wait and help her father 
and mother receive for the dinner 
party the Krugers were giving. But 
she was hurried away right after, and 
put to bed. 

Mrs. Kruger — who by the way, 
when she was Sue McManamy, was en- 
gaged to Richard D^ix, in their old 
stock days together — looked lovely in 
a blue velvet princesse gown, trimmed 
with priceless old lace at the neck. 

W. S. Van Dyke was there. He had 
brought Muriel Evans, who played the 
"vamp" role, you remember, in "The 
Prizefighter and the Lady," which 
Mr. Van Dyke directed; and a romance 
appears to have sprung up between the 
two since then, so that they are seen 
about everywhere together. Even if 
Van Dyke has declared himself "not a 
marrying man!" 

Miss Evans wore a blue taffeta eve- 
ning frock, and Otto Kruger asked her 
if she looked as pretty in everything 
she wore! 

Otto Kruger, talking about the war 
— he was in the navy — told how excited 
he and the rest of the crew of a de- 
stroyer were when they were sure they 
were being sent into the North Sea for 
action. 

"And then we saw lights one night," 
he said, "and knew we were back in 
Boston Harbor! We all broke down 
and wept!" 

Ralph Morgan and his wife were 
there, and Mr. and Mrs. Edmund 
Breese, and Ray Griffith and Bertha 
Mann. 

J ETTA GOUDAL has become a dyed- 
in-the-wool interior decorator, with- 
out a thought of acting, I am sure. 
And she's just as good an interior 
decorator as she was an actress, which 
is saying a whole lot. 

She and her husband, Harold Grieve, 
gave one of the big parties of the 
month, assisted by Earl Stendahl, at 
Stendahl s luxurious art galleries on 
fashionable Wilshire Boulevard. 

It was a cocktail party, and the beau- 
tiful galleries were filled with flowers. 
Food was served the entire afternoon, 
one delectable dish being tiny tea bis- 
cuits hollowed out and filled with 
chicken. I can recommend that dainty 
for any tea party or cocktail hour. 

Groucho Marx was there, and was so 
impressed by the famous paintings he 



(Continued from page 58) 

saw, especially the Mexican art of 
Ramos Martinez, that we shouldn't be 
surprised if he turned art collector. 

Ernst Lubitsch, too, was delighted 
with the Martinez pictures, while Ger- 
trude Olmstead and Robert Leonard 
fairly went out of their minds over 
DeWitt Parshall's magnolias and water 
lilies. But it took Lilyan Tashman to 
really rave. She loved the water color 
decoration by James Spaulding Bod- 
rero, and everybody admired Hugo 
Ballin's picture of his wife, Mabel 
Ballin, whom you may remember in 
pictures. 

Lilyan Tashman looked lovely in a 
gray close-clipped caracul coat — which 
she kept on all the time — and a little 
gray caracul hat with perky feathers. 

Eddie Lowe was there, and he and 
Robert Leonard had a lot of fun walk- 
ing about, looking at the pictures, and 
discussing art. 

Our hostess was sweet in a brown 
velvet gown with draped collar effect. 

(^[.UESTS simply crowded the place, 
^Juntil you could merely take your 
chance to peep at the pictures, the list 
including Mr. and Mrs. Charles Butter- 
worth, Mr. and Mrs. Ralph Bellamy, 
Mr. and Mrs. William Cowan, Sue Car- 
rol, Mr. and Mrs. John Considine, Lowell 
Sherman, Alice Terry, who is looking 
lovely these days, Mr. and Mrs. Warren 
William, Tullio Carminati, Sallie Eil- 
ers and Harry Joe Brown, Mr. and 
Mrs. Zeppo Marx, Harry Rapf and 
wife, Mr. and Mrs. Edward Goulding, 
Jobyna Howland, Gavin Gordon, Mitch- 
ell Leison, Marie Dressier, Zita Johann, 
Veree Teasdale, of course with Adolphe 
Menjou, Grant Mitchell, Mr. and Mrs. 



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Fe-283 — A new studio couch with 
bookcase ends for the living room 
provides extra sleeping accomoda- 
tions; also a book shelf designed by 
June Vlasek. 

Fe-284 — Wall brackets to hold ivy pots 
or fragile ornaments that are un- 
usual in design. 

Fe-285 — A lamp base made of wood 
designed for the modern room. 

Fe-286 — An unusual cornice board 
made of wood, and mirror gives a 
smart finish to your draperies. 

Fe-287 — A work table especially de- 
signed for the home carpenter. 



Write to Miss Frances Cowles. care 
of this magazine, enclosing 4 cents for 
any one circular, 10 cents for 3 circu- 
lars, or 15 cents for all 8. Be sure to 
indicate which circulars you want by 
the numbers given in the accompany- 
ing descriptions. 



Fredric March, Mr. and Mrs. Joel 
McCrea, Mr. and Mrs. Kenneth Thom- 
son, Mr. and Mrs. Eliot Nugent, Mr. 
and Mrs. Charles Brabin, and many 
others. 

MUSIC and musicians are coming to 
Hollywood in earnest, and Nelson 
Eddy gave a party to which musicians 
were invited, along with some laymen, 
so to speak — although the term is rela- 
tive, and I doubt if actors would like 
being called laymen! 

The pretty drawing room was filled 
with flowers, and Nelson's charming 
mother and aunt made us all welcome. 

One of the first people I met was 
Judith Allen, who was wearing a red 
velvet gown, princesse effect, with 
sleeves and yoke of red-and-white 
checked silk, very effective. 

"But I wore it to the Bing Crosby 
party," said Judith, "and I just knew 
there'd be somebody here who would 
recognize it!" 

It being an afternoon affair, Judith 
had come unattended, but didn't long 
remain that way for she has become 
very popular. 

Polly Moran was among the guests, 
attended, of course, by her husband, 
Martin Malone. She was gay and 
sparkling and seems very happy. Polly 
looks positively pretty these days. So 
much for happiness! 

She saw me taking notes of what 
she said, and exclaimed: "Oh, don't 
put down all the things I say — you'll 
disgrace my husband!" 

But she did let me tell you that 
Martin was married in a sixty-nine 
cent shirt! 

Somebody asked her if she was going 
to take a wedding trip. 

"Oh, maybe to Ocean Park!" she 
retorted. (A seaside resort twenty 
miles from Hollywood.) 

Polly was clowning with her hat — 
such a good sport hat, too! — pretend- 
ing it was falling off her head all the 
time — that she couldn't keep it on. Her 
husband patiently picked it up each 
time it fell. 

"Oh, dearie," she admonished him, 
"don't make yourself an old man pick- 
ing - up my hat!" 

Mr. Malone, by the way, is very 
handsome. He is a criminal lawyer 
and Polly seems to be the comedy re- 
lief in his life! 

This sounds like a comedians' party, 
doesn't it? I've certainly wandered 
away from my musicians. The comedy 
took place during the eating of the 
buffet dinner, following the cocktails. 

I'm sure that Nelson Eddy couldn't 
have eaten much of his own food, he 
was in such excellent voice, after din- 
ner. 

An odd feature of the party was a 
gadget which instantly reproduces the 
voice following the singing of a num- 
ber. And a still greater oddity was 
furnished by a contrivance which re- 
produced all four voice parts after 
our host had sung them, one at a time! 
The effect was uncanny. 

Other guests included Mitchell Lei- 
son — married to Stella Seager, or as 
she calls herself now, Sandra Gale, 
who is now playing in London, but 
who will be home soon, they say to 
appear in musical pictures. You may 
remember her in one cr two silents. 



70 



The New Movie Magazine, February, 193 '4- 




DESIGNED AND MADE IN 

HOLLYWOOD 

A smart, modern bookcase that 
you can make for your own home 

June Vlasek, beautiful Fox star, has a very interesting collection of china 
dogs. She has fifty in her collection now and needed a safe place to keep 
and exhibit them, so she designed this lovely, modern bookcase and constructed 
and painted it entirely herself. 

A shelf rack of this type can be used either as a separate bookcase or a 

pair of them would make ideal studio couch ends. 

The home carpenter can easily make a bookcase like this one; also many other 
decorative and useful things for the home. 



To obtain diagram circulars and directions for making, furniture and accessories 
frcm wood, please turn to page 70. 



■I 




Fe283 — Modern bookcases and bookcase ends for studio couches. 

The Neiv Movie Magazine, February, 1934 



71 



I've learned 

i 



my lesson! 




XOU know there are still a lot 
of people old-fashioned enough to 
think that, unless a laxative tastes 
pretty awful, it can't really do 
much good! 

"So I'd find myself 'taking, some- 
thing' now and then — and how I 
hated it! Gulping something out of 
a bottle that tasted as mean as 
Old Miser Simpson. And how it 
stirred things up in my stomach! 
Some cf the things I took acted 
like dynamite. 

"You know you keep on doing 
things out of habit. I kept on taking 
those rough-action, nasty-tasting 
cathartics for years. Then one day I 
noticed my daughter giving my 
grandchild a little piece of choco- 
late marked Ex-Lax." 

' Why don't you give up those 
bitter, messy things and try a piece 
of this?" asked my daughter. "Oh, 
that's for kids!" I said. "Kids?" 
said my daughter, "isn't it just as 
important for you that you take 
something that doesn't upset you?" 

"Well, it was surprising! 
Worked like a charm! And I said 
to myself, I've learned my lesson." 

You can get Ex-Lax at any ^ R, 

drugstore. 10c and 25c boxes. 



'regular' 



*itfc 



EX-LAX 

THE CHOCOLATED LAXATIVE 




ihaktM/p box 



BEFORE we even tried a new facial 
cream which arrived in the Beauty 
Department recently, we were fasci- 
nated by the story of the secret life it 
had led for two whole years before it 
appeared on the market. It was tested 
with great success in beauty salons 
under an assumed name. Women liked 
it. They begged for it and finally the 
calls from discriminating women every- 
where were so insistent that it was 
decided to release it for home use. 

It isn't like anything you've used be- 
fore ... an emulsion which feels like 
a thick cream and makes your skin 
feel like velvet. The instructions for a 
one-minute facial work like a charm. 
First, apply cream generously on face 
and neck until it is evenly distributed. 
Then allow thirty seconds or so for 
cream to penetrate and soften pore ac- 
cumulation. Now stroke gently with 
finger tips in upward and outward mo- 
tion until cream disappears. Continue 



■;: ■ 




to massage skin lightly until a white 
mask appears . . . this is the point at 
which the emulsion reverses. Imme- 
diately remove _dirt-laden mask and oil 
film with soft towel'or cleansing tissues. 
Your skin 'now has a fine powder base 
and is ready for make-up. This rich 
fragrant cream, put up by the makers 
of a moisture proof powder, comes in a 
generous size, attractive jade and 
silver jar. 



THE curve may be back in the fash- 
ion picture but the bulgewill never 
have its day. That unsightly roll above 
the waistline where your girdle stops' 
and brassiere doesn't reach, needs dis- 
cipline. So do upper arms which are 
full instead of firm. So do chins which 
are beginning to sag instead of retain- 
ing the clean-cut line of youth. One of 
the .best new ways to mold your face 
and figure to a smart silhouette, round- 
ed but trim, is to use the new massager 
invented by a professional masseur. 
The instrument weighs less than a 
pound and uses no electricity. When 
pushed over the body, the soft rubber 
sphericals pick up and knead the 
muscles and tissues with the firm 
gentle action of a skillful hand mas- 
sage. This is not only an effective aid 



in acquiring a trim lovely figure, but 
does wonders for a tired body and 
frazzled nerves. Another attachment 
comes with it for scalp treatments 




. . . soft rubber knobs just covered 
with tiny rubber spines. Makes your 
hair literally stand on end and puts it 
in a receptive mood for a hot oil sham- 
poo. 



IT'S as red and gold and gay as a 
Christmas tree decoration and as 
plump as a striped stick of candy. It 
can do tricks too. A flip of the thumb 
and out pops the lipstick. But those 
are not all the real virtues of this new- 
est lipstick. It is triple indelible and 
comes in three shades which give a 
lovely accent to blonde, medium or 
brunette colorings. The attached top 




is simply grand for. the careless horde 

whose lipstick covers have joined 

the army of forgotten toothpaste 
tops. 



For further details including 
navies and prices of the articles 
described above as well as other 
beauty news, send a stamped, 
self-addressed envelope to Beauty 
Editor, Make-Up Box, Toiver 
Magazines, 55 Fifth Avenue, New 
York, N. Y. 



72 



The Neiv Movie Magazine, February, 193 i 



Hollywood's 
Cocktails 

(Co ".'/• 46) 

A dash of bitter- 
A lump of sugar 

Then pour the champagne. A glass lull- 
Some people add a stick of pineapple, 
but not Lenore. And when I asked tier 
what size glass you should use, she 
said, "A big one!" 

DESIGN FOR LIVING 

Ernst Lubitsch told me that his 
favorite cocktail is made with Dubon- 
net. He calls it "Design For Living." 

-, Dubonnet 

!i Kin 

Shake in ice, and strain before serving. 

THE OLD TIMER'S 
D. W. Griffith, who hails from Ken- 
tucky, says that's the reason he likes 
whisky. He calls his drink "The Old 
Timer's," and he warns you not to try 
it. He told me that he learned how to 
drink it when he was an iron worker 
just outside of Buffalo. Incidentally, 
during the prohibition era, D. W. never 
entered a speakeasy. Here's his drink 
. . . hold your breath. 

1 glass of straight whisky 
1 glass of beer as a chaser 

GOLDEN FIZZ 

Carole Lombard chooses something 
that fits her personality, "Golden Fizz." 
It's not a cocktail either, but one of 
those nice long drinks. 

1 tablespoonful of fine white sugar 

3 dashes of lime juice 

The yolk of one egg 

1 wine glass of Old Tom gin 

3 small lumps of ice 

Shake thoroughly, strain into medium 
bar glass and fill with seltzer water. 

LIME COCKTAIL 

Last but not least comes Fredric 
March's special lime cocktail. Fredric 
prepares enough for four people, so 
here it is, for you and your guests. 

4 ponies of gin 

4 dashes of bitters 

Then steep rind of one lime in a 
small glass of boiling hot water and, 
after essence has been extracted, pour 
lime water into gin and next, the en- 
tire mixture in a tall shaker full of 
shaved ice. Shake and strain. 

JEZEBEL 

Miriam Hopkins is loyal to the South 
and here is her special recipe for a 
mint julep. She calls it Jezebel. 

Crush together four or five leaves of 
mint, one teaspoonful of sugar and two 
teaspoonfuls of water. Then remove 
leaves. Fill glass with cracked ice — add 
one and a half drinks of rye and two 
dashes of peach brandy. Stir until 
frosted on outside. 

And nt.w for a bit of advice. You can 
ruin any cocktail by not using enough 
ice, or by being too lazy to give it an 
all round shaking. Remember, use 
plenty of ice and always shake until 
the shaker is practically frost-bitten. 
That's all for today, boys and girls. 
Class dismissed. 




"tv tonsense," you say. "Junior's 
i-N rompers sometimes pick up a spot 
or two from his wagon — but there's 
no grease in the rest of my clothes." 

Lady, you can't see it — but the grease 
is there. It comes from perspiration. It 
makes dirt stick so tightly that it doesn't 
all come out — and after a few washings 
your clothes become ding)' and gray. 

An added grease-loosener for you 

But put Fels-Naptha Soap on the job — 
and this greasy dirt hustles right out. It 
has to— for Fels-Naptha bringsextra help 
to the job. It is more than soap alone. It 
is good golden soap combined with lots 
of naptha. And naptha, you know, is 
famous for the way it cuts grease. 

Working briskly together, these two 
cleaners loosen grease and float out 
every bit of dirt. Your clothes are so 

FELS-NAPTHA SOAP 

NOW REDUCED! . . LOWEST PRICE 

IN ALMOST 20 YEARS! 



clean they fairly sparkle with whiteness! 
You can say goodbye to "left-over dirt." 

Fels-Naptha's extra help saves hard 
rubbing. It saves your hands for it 
speeds the wash and gets them out of 
water sooner. And did you know that 
Fels-Naptha contains glycerine, too? 

Change to Fels-Naptha Soap — get a 
few bars at your grocer's today. Whether 
you use tub or machine — hot, lukewarm 
or cool water — whetheryousoak or boil 
clothes — Fels-Naptha will hurry greasy 
dirt out of your clothes — and •***' 
put a sweet new whiteness in! 



PELS & COMPANY. Philadelphia. Pa.T.M..,.,. 
Some women. I understand, find it a bit easier to 
chip Fels-Naptha into tub or machine by using 
one of your handy chippcrs instead of just an 
ordinary kitchen knife. I'd like to try thechippcr. 
so 1 enclose 3<* in stamps to help cover postage. 
Send the sample bar, too. 

T^ame 

Slrttl 

0*- 



_ <Slilt- 



(Please print name and address completely) 



The Neiv Movie Magazine, February, 193i 



73 




These knitted outfits started out even. 
Same manufacturer. Bought in the 
same department store. Same price. 
Same size. Same soft wooliness! 

In the picture above they are worn 
by the same baby. 

What makes the differences? The 
washing, my dears! The suit on the 
right was washed correctly with pure, 
fluffy IVORY SNOW which dissolves 
perfectly in LUKEWARM water. The 
other one wasn't. 

YOU CAN DO IT! 

In the column at the right are direc- 
tions for washing wools SAFELY. 
Read them carefully and follow them 
exactly to get perfect results. 



1. Lay garment on paper and cut or 
draw outline to show size. 

2. Make a generous lukewarm Ivory 
Snow suds. You can safely use enough 
SNOW to make big, rich suds because 
Ivory Snow is pure. 

3. Don't rub. A big fluffy Ivory Snow 
suds saves rubbing. Cup garment in 
your hands and squeeze suds through. 
Two sudsings are better than one. 

4. Rinse in 3 lukewarm waters of the 
same temperature as your SNOW 
suds. Squeeze out as much water as 
possible without twisting or wringing. 

5. Lay garment on your paper pattern 
and pull it back gently to size. Dry it 
flat away from heat. 




Music in theMovies 

(Continued from page 12) 

to be more of a solo record. This is 
slower than the preceding side. (This 
is Vocalion Record No. 2569-B). 

"I'll Be Faithful" played by Bernie 
Cummins and his orchestra, makes a 
smooth record. This is the first that 
I've heard from this band in quite some 
time, and I was beginning to wonder 
where they were. They're just as good 
as_ ever, though, and you should like 
this one. Walter Cummins sings the 
vocal refrain. 

On the other side is "You've Got 
Everything" played by the same band. 
This is a bit faster, and livens things 
up a bit. Bernie himself does the vocal 
work in this one. (This is Columbia 
Record No. 2827-D). 

"Good-Bye Love" from the picture of 
the same name is next. This is played 
by Jan Garber and his orchestra, in 
true Lombardo style. And just to make 
thing's more complicated it's sung by 
Lee Bennet in true Bing Crosby style. 
Who could ask for more? 

The other side is also by Jan Garber 
and this time it's "Empty Days" an- 
other sweet number. All in all, you 
should really enjoy it. (This is Vic- 
tor Record No. 24413-B). 

Here's a revival of an old favorite, 
and it's "Avalon" played by Red 
Nichols and his Five Pennies. Red 
and the boys certainly jam through this 
one in great style. It is by far the 
best record that I've heard of this tune 
in a long time, and I've heard plenty 
of them. If you want something to 
swing to, don't miss this. 

The other side is "Nobody's Sweet- 
heart" also played by Red and the 
boys. And it just goes to make two 
good jam tunes on one record. (This is 
Brunswick Record No. 6681). 

Here is the waltz hit from "Bitter 
Sweet" and the title is "I'll See You 
Again," played by Leo Reisman and 
bis orchestra. This is really a very 
beautiful tune, and Reisman plays it 
very well. 

"If Love Were All" is the number 
on the reverse side, from the same show 
and played by the same band. This is 
a fox trot. (This is Victor Record No. 
24372-B). 





NEW METHODS IN 




BABY FEEDING 


Th 


is month's circulars have been de- 


signed to help you plan and prepare 


your 


baby's food in the new scientific 


way. 




1. 


Milk in the diet of babies and 


youn 


g children. 


2. 


Vegetables and how to serve 


therr 


. 


3. 


Fruit in baby's diet. 


4. 


Orange juice. 


5. 


Pineapple juice. 


6. 


Cereals in baby's diet. 


7. 


Meat and eggs. 


8. 


Diets and menus for babies and 


your 


g children. 


If 


you would like copies of these cir- 


culars, send ten cents to Rita Calhoun, 


care 


of Tower Magazines, 55 Fifth Ave- 


nue, 


New York, N. Y. Remember they 


are 


Drinted on loose leaves, so that you 


can 


keep them in a loose -leaf binder. 



74 



The New Movie Magazine, February, 193A 



Out of the 
Magic Mirror 

40) 



It wasn't a big part, (if course, and 
Charlotte came and went without the 
producers paying much attention to the 

ethereal child with her clear, shilling 
look. She did get a bit to do in 
"Huckleberry Finn." The director, 

Norman McLeod, called her over one 
day ami asked if she would like to be 
Mary" in "Mrs. Wiggs of the 
Cabbage Patch." Another sleepless 
night but she might have known the 
idea wouldn't materialize then because 
the skies were too blue. That, you see, 
has a lot to do with it, for Charlotte's 
amazing luck rides the clouds of stormy 
weather. She's certain of that. Wasn't 
it raining when she was selected foi 
"Courage" and didn't she find her lie- 
loved puppy, Puddles, during a torren- 
tial downpour? And it was the fog- 
giest morning Hollywood had experi- 
enced in years the day she walked into 
the Paramount publicity office. She 
had come on a dare from one of the 
girls over at the Pasadena Community 
Playhouse. Someone shouted: "There's 
Alice or I miss my guess by a mile!" 
They were in a shouting frame of mind 
by that time after having tested some 
six hundred girls for the part without 
any result. 

She wouldn't let herself believe what 
she heard. She said: "Pardon me. .My 
name isn't Alice; it's Charlotte Henry." 
But two days later, over the telephone, 
they told her she'd been mistaken. She 
was Alice. McLeod, the director, had 
just come from seeing her test in the 
projection room. . . . 

It was then she slipped through that 
magic mirror, into another world. The 
thrilling world of the screen "comer." 
A star in the making . . . The three- 
years of waiting and heartbreak were 
ended. It didn't matter any more that 
she was too old for real child parts 
and too young looking to play ingenues. 
What if she hadn't been summoned to 
the Community Playhouse to take the 
leading lady's place in "Growing Pains" 
and subsequently taken that dare? 
Oh, but it was misty that night, too, 
and Charlotte's luck was on the job! 

For eight weeks she's been in "Won- 
derland." Often working from nine 
one morning to three the next. Play- 
ing opposite such celebrities as Gary 
Cooper and Fredric March — "only 
they had funny masks on so I couldn't 
get very excited . . ." Living a de- 
lightful fantasy of her own. A slim 
girl-child who has never had a "date" 
or owned a box of rouge. 

Director McLeod has recaptured that 
old idea of doing "Mrs. Wiggs of the 
Cabbage Patch." Probably it will be 
her next picture. Swarms of people 
pressed around to congratulate her. 
"It isn't me they want to see," she 
whispered. "It's Alice and Lovey Mary 
. . ." And little Charlotte Henry 
smiled as if she had a fascinating secret 
— the answer to how you keep on stay- 
ing in "Wonderland." 



Read 
EDWIN C. HILL'S story of 

KATHARINE HEPBURN 

in 
next month's NEW MOVIE 



CO//// doe6i// m^i 

Manicure but longer?" 



4*3 




Y* 



Strong suds 
in your dishpan 
peels the polish, 
spoils the cuticle . . . 
makes nails brittle 

Ivory Soap 
costs so little 
to use . . .Why spoil 
'1 your hands with 
strong suds? 



Try Ivory Soap for dishes (and all soap-and-water tasks) for 
a week. See how much longer a manicure lasts, how smooth 
your hands look. Ivory is kind to busy hands because it 
is pure enough for a baby's skin . . . 99 44 i\oo % Pure. 

Ivory Soap 

prevents "Housework Hands" 




The New Movie Magazine, February, 1984 



75 



FOR ABSOLUTE 

SAFETY 

in darkening your lashes 
use genuine, harmless 



C0^t^Me^00<l^: 



Hollywood Social Game 



(Continued from page 59) 




NON-SMARTING, tear- 
proof Maybelline is NOT 
a Dll E, but a pure and highly 
refined mascara for instantly 
darkening and beautifying 
the eyelashes. 

For over sixteen years mil- 
lions of women have used 
Maybelline mascara with 
perfect safety and most grati- 
fying results. 

Pale scanty lashes are in- 
stantly transformed into the 
appearance of long, dark, lux- 
uriant fringe with Maybelline 
mascara — by far the largest 
selling eyelash darkener. 

Have lovely lashes safely 
and simply with Maybelline 
mascara. Black for Brunettes, 
Brown for Blondes. 75fS. 



The perfect 



SOLD BY REPUTABLE 
TOILET GOODS DEALERS 
THROUGHOUT THE WORLD 




Malibu, the beach resort. Someone of 
importance once built a house at Mal- 
ibu. Before long living at Malibu be- 
came the thing to do, in spite of the 
fact that you have to build your house 
on land you can't own, and live so close 
to your neighbor that you could almost 
reach over and snatch his roast goose 
from the dining room table. 

Can you picture a group of very rich 
people packed together in a bungalow 
court on the beach? That's the picture 
colcny at Malibu, settled there to be 
near each other and to use moments 
of play to put over private aims and 
amb-tions. 

When tourists want to see the movie 
people, they go to a Hollywood open- 
ing. I went to my first, thrilled with 
a sense of adventure. I stood around 
the lobby, watching greatness approach 
in style, listening to blah-blah speeches 
into the microphone, wondering how 
it was that everybody could afford such 
magnificent cars and fur coats and 
jewels. 

The dictum from the studios is "to 
be seen and be seen in style." The 
badge of success for stars is a white 
ermine coat and a eorsage of orchids, 
although this year there has been a lib- 
eral interspersion of mink with the 
ermine. If you can't afford to buy an 
ermine or a mink coat, rent one. But 
go you must, and go with swank. 

Even weddings, it seems, are public 
occasions for the movie great. A wed- 
ding in a prominent movie family can 
never be a private, sacred affair. Movie 
people owe it to their public to let 
them in on everything. 

THERE were over five hundred 
guests invited to one Hollywood 
wedding. The bride was the daughter 
of an important producer. Her brides- 
maids were movie stars. The affair 
had been heavily publicized and crowds 
gathered on the street and in the lobby 
of the hotel where the wedding was 
to take place. 

Invited guests had to plough their 
way through an unruly mob of inquisi- 
tive sightseers and autograph hounds. 
Even during the ceremony shouts could 
be heard from the lobby, "Here comes 
Mary Pickford!" Or, "Say, ain't that 
Clark Gable?" It was impossible to 
hear the wedding-service through the 
noise of the mob. 

At dinner the -guests were arranged 
in the order of their importance. Big 
stars and producers sat nearest the 
bridal table. The less important a 
guest was, the greater distance there 
was between, him and the bride. But 
the newspaper gang had good seats. . 
They could — and did — provide good 
publicity. 

That brings me to another funny 
thing about Hollywood society — I mean 
the entertaining of the press. You 
never go to a party without stumbling 
over some reporter or reviewer or col- 
umnist. I know of one newspaper 
woman who is asked everywhere. Pro- 
ducers, directors, stars, all cater to 
her. She goes on their house-parties, 
their yachts, their ranches. She is the 
recipient of the most extravagant gifts 
— not only at Christmas but through- 
out the year. She eats, cost-free, at 
any restaurant in town. She is wined 
and dined by every newcomer on the 
road to success. 



There follows, of course, a feverish 
scanning of her column. The reward 
is very apt to be in print. A littls 
notice here, a little boost there. She 
has a lot of friends and she remembers 
them all. 

Making personal friends of the pre33 
is part of the Hollywood racket to 
publicize the fact that you go with 
the right people and are seen at the 
right places. It is also part of the 
great game of cultivating people for 
what you can get out of them. 

Too bad! Such tactics are bound 
to make sycophants out of young peo- 
ple who are eager to succeed, and yes- 
men out of those who have jobs and 
want to hold them. 

HOLLYWOOD could easily have be- 
come another Latin Quarter where 
artists gather together for free and 
frank interchange of ideas on art, or 
world affairs, or life in general. In- 
stead, it is like some horrible mechanis- 
tic dragon that destroys the personal 
freedom and initiative of artists and 
inoculates them with the deadly poison 
of conformity. They may be brave 
as lions when they arrive, but the 
dragon turns them into sheep. 

Not very polite sheep either, as I 
have to confess if I'm to tell the truth. 
Good manners seem somehow to have 
been lost in the shuffle. Time set for 
a dinner hour means nothing. Guests 
come anywhere from fifteen minutes 
to an hour late, without even the grace 
of an apology. You get to realize, 
after you've been there for a time, 
that when a Hollywood hostess says 
seven o'clock, she really doesn't expect 
you till nearly eight. 

Sometimes dinner guests do not show 
up at all. Nor do they telephone an 
excuse. The hostess smiles and says, 
"Oh, I guess Sam forgot. We'll start 
dinner without him." She never seems 
to mind, nor to count his rudeness 
against him, and he is just as apt as 
not to be invited to her next party. 

I DO not think I am getting old or 
crochety, but after my first excite- 
ment at seeing Hollywood wore off, I 
began to dislike the exhibition of bad 
manners and bad taste that I saw al- 
most everywhere. I disliked intensely 
the publicizing cf the most intimate de- 
tails of private life and I hated the 
Hollywood acceptance of such publicity. 

I loathed seeing in the papers, 
months before a baby was born, that 
"the stork is expected in the home of 
so-and-so," and I loathed the way the 
whole town discussed it. 

I resented furiously the printed ref- 
erence to a love affair as "she is that- 
away about so-and-so," for everyone 
to read and gossip about. 

Yet Hollywood does not mind. Hol- 
lywood society believes that if you get 
into the papers, the whole world will 
know that you're in the swim. And 
won't that be grand? 

Well, I'm out of it. I packed up my 
clothes and typewriter, hopped into my 
roadster and am on my way back to 
Virginia. My house there has no marble 
bathroom, no flower-scented patio, no 
swimming pool. But it is my own 
sacred castle to which I invite only the 
people I like and want. 

I know now that I will never have 
a Hollywood fortune. But do I care? 
I do not. I have my self-respect. 



76 



The Neiv Movie Magazine, February, 193 % 



Hollywood Slave 



.. 



.1 1, 






"The Goddess." In this, as in every- 
thing else, his method was Ins own. II' 
would talk rapidly for a time, sweeping 
through scenes and sequences at a head- 
long pace. Then, suddenly, he would 
■top, and go into one of his long si- 
lences. 

It was in one of these interludes that 
I found my own voice. It was a simple 
question I asked about a minor detail 
of my own part. But it seemed to 
please him mightily that I asked it. 
After that, I talked more; in time I 
was repeating phrases, bits of dialogue; 
before I knew it, I was in the part, act- 
ing out little scenes, laughing, sighing, 
even shrieking as the role demanded. 
Suddenly, he raised his great voice: 

"Sami" 

"Okay, boss!" came the familiar 
answer from the far end of the outer 
stage. 

"Bring my Boylan!" 

Boylan, Stephen Boylan — Fritz had 
not told me that this most sought after 
of Hollywood males was to be my lead- 
ing man. He had thought of every- 
thing, Fritz had, that would be sure to 
make my picture, his picture — our pic- 
ture — a success. 

Steve Boylan turned out to be a very 
pleasant young man, not so devastating 
off as on, but good-looking in a nice, 
manly way. It ought not to he hard to 
do love scenes with him, I thought, as 
Fritz introduced him and brought him 
casually into the conversation. 

"You've read the script, Steve?" Fritz 
asked. 

"Yes, and I have a few suggestions 
about my part." 

■ iver mind the suggestions now! 
You remember the scene on the desert 
when you are hunting for Astra and 
come suddenly upon her in the moon- 
light?" 

"Yes. I say, 'My darling, I thought I 
had lost you.' " 

"And she says, 'I thought I had lost 
you, too, but I cannot lose you. We 
cannot lose each other. We belong to 
each other!' " 

These were the words I had repeated 
after him, just before he sent for Steve. 
Now, I knew them by heart. 

"Stand up, you two," cried Fritz, 
once more the great director. "You're 
in the middle of the Libyan desert, you 
understand? It is moonlight. There 
is nothing so far as the eye can see ex- 
cept sand — white, moonlit sand. You 
come suddenly upon one another. You 
are desperately in love. Steve, take her 
in your arms. Make her feel, feel, 
feel!" 

The boy took off his coat, loosened his 
collar; it was the actor in him; he must 
feel the effect of the costume. I under- 
stood. He took me in his arms. They 
were nice arms. It wasn't their fault, 
or his either, that the gesture took me 
back, not to ancient Egypt, but to the 
bleachers on the old athletic field at 
Gower. I was no longer Fritz Stresse- 
man's Egyptian goddess. I was Travis 
Jackson's little co-ed sweetheart. But 
there was no Travis. There was no 
thrill. I did not feel, because there was 
nothing to feel. Boylan spoke his lines. 
I spoke mine. The scene was terrible. 

"Do it again!" commanded Fritz. 

We did do it again; but we were still 
terrible. 

"Boylan," shouted Fritz, turning on 
poor Steve the anger that was meant 
for both of us, "what in hell is the mat- 
(Pleasc turn to page 78) 



Keep colds and grippe outside 
by proper home disinfection ' 




Dr. Margaret B. C. Manus, 
leading ph\ sirian of Am- 
sterdam, on staff of Mu- 
nicipal Hospital, Boer- 
ha\ e 1 lospital. and State 
Hygienic Service. 



^ 



"Ask your doctor whether there is a 
quick, magic cure for common colds, 
grippe and influenza, he'll answer 
promptly, 'No.' 1 hose three highly in- 
fectious ills still baffle medical science . . . 
kill thousands . . . cost millions. 

"Yet it is amazing how people still neg- 
lect one limits measure that fights off 
pernicious germs . . . that helps check 
dangerous epidemics . . . that makes the 
home a health resort instead of a hospital. 

"In Holland, as in America, through 
four decades, leading physicians, hospi- 
tals and health authorities have waged 
war on disease germs by the "Lysol" 
method of personal and home disinfec- 
tion. "Lysol" is the modern mother's 
weapon for protecting her home and 
family against disease and infection." 
(Signal) DR. MARGARET B. C. MANUS 




C LWin tt Fink. Inc.. 1934 

Keep your house clean with "Lysol." 
Wash clothes, especially bedding and 
handkerchiefs, with "Lysol." Use "Lysol" 
to wash the bathroom, tubs and tiling. 
After any illness, disinfect the bedroom, 
floors, woodwork and furniture, by wash- 
ing with "Lysol." Use "Lysol" to disinfect 
basins and other sickroom furnishings. 

"Lysol" for fern in ine h ygiene 

Physicians of leading nations have endorsed 
and recommended "Lysol" as a safe and 
effective method for feminine hygiene. "Lysol" 
kills germs anywhere . . . even in the presence 
of organic matter. Yet ir is safe and gentle 
to the most sensitive tissue. 
Send for I he booklet — "Marriage Hygiene." 
with articles by leading women gynecologists. 



"Lysol" kills germs. It's safe. It's an effective 
germicide at ALL times, lor forty \mt^ it 
has had the fall acceptance of tin- mosl promi- 
nent physicians, <>f the entire medical profes- 
sion tliroughoui thr world. It's the standard 
antiseptic in modern hospitals everywhere. 
A'i ttthrr antiseptic enjoys such absolute trust. 

or is sn jiriurall\ i rcammrtulril for home llsr. 

C.UIDANCE FOR WIVES AND MOTHERS 
I i ir. ,\ Fink, Inc., Btoomfield, VI.. Dipt. L4 
SoU Distributor} of "Lysol" disinfectant 
Please -tin! me free the "Lysol" Health ' ibrary includ. 
ing — "Keeping .1 Healthy Home," "Marriage Hygiene," 
"Preparation fur Motherhood." 

Na me 



SlrrcL- 
Ciiy— 



Thr N ew Movie Magazine, February, 1934 



77 



Mrs. F. Cook 
of Verona, N.J. 



writes 




"Baby's Cough 
soon stopped — 

thanks to 
the Doctor's advice!" 

• "My poor little baby coughed night after 
night," writes Mrs. Cook. "It was awful. 
Then doctor said to give her Pertussin. I 
did — and it was wonderful how soon the 
hard cough stopped." 

' I A HE tissues of your throat and 
-*- bronchial tubes are kept moist 
and healthy by millions of glands — 
like tiny water faucets. But when you 
"catch a cold" these glands clog up. 
Thick mucus collects. Your throat 
feels tickly— dry. You hawk and you 
cough, but nothing is "raised." 

To stop a cough, you must get these little 
moisture glands working again. And Pertussin 
does just this! 

Just a spoonful or two of Pertussin, 
doctors have found, stimulates the 
glands— starts up the flow of their 
natural moisture. Germ-laden phlegm 
loosens — your throat feels soothed and 
relieved. Nature, with the help of Per- 
tussin, has started to cure your cough! 

Pertussin is the extract of a medic- 
inal herb used by doctors for years, 
even for the worst of all coughs. It 
won't upset the digestion. It contains 
no narcotics, no harmful drugs. 

Won't you get a bottle of Pertussin 
right away? 



BABIES NEED PERTUSSIN 
when they cough. And it's so 
safe! "I use it for my own 
family," one doctor writes. 
"It always does the work," 
writes another. Try it — 
you'll like its taste! 



PERTUSSIN 

has been prescribed by doctors 
for 30 years . . It works safely I 




Hollywood Slave 

{Continued from page 77) 



ter with you? You've got a beautiful 
woman in your arms, not a stick. She's 
a goddess, not a dummy. Give her life. 
Make her live!" 

The boy did his best, which, as mil- 
lions well know, was pretty good; but it 
wasn't good enough; it didn't get a 
spark. 

"Look here!" cried Fritz, rising to his 
great height and pushing the actor 
roughly to one side. "Let me do it!" 

He swept me into his great arms. 

"My darling, I thought I had lost 
you!" he whispered, and I felt that I 
was his darling. 

I will never forget the thrill of that 
moment. It was not the kind of thrill 
I experienced when Trav took me in his 
arms. It was sharper. It hurt. But 
it was delicious pain. My body rose to 
his. My lips formed unconsciously the 
words of love. My eyes sought his — 
and turned away, frightened at what 
they saw in those green depths. 

He seemed to be frightened, too. His 
arms dropped from me. His body 
straightened. 

"That's all for today," he said in a 
husky voice, and strode off the set. 

AS I was leaving the studio half an 
xi. hour later, with Sarah in tow, 
Sam drew me aside, well out of ear- 
shot of the curious crowd that had 
gathered around my waiting motor. 

"Baby, you were swell," he was say- 
ing, "in that hot scene with the boss. 
It's too damn bad he's so fat. As a 
juvenile lead he's a knockout." 

I agreed that he was — a knockout. 

"An' kid" — it was obvious that Sam, 
at least, was totally impervious to my 
alleged European distinction — "the boss, 
he says, to tell yer he'll be up to your 
place tonight about nine to show yer 
the rushes of the scenes we took today." 

"The rushes?" 

"Sure! The shots we made today. 
He's got the developing outfit workin' 
overtime on yer, baby." 

"I hope they're better than those air- 
port pictures in this morning's papers, 
Sam." 

"They will be, baby, they will be," 
Sam assured me, as he lighted a cigar- 
ette, spat thoughtfully onto the studio 
lawn, and walked jauntily away. 

"It's too bad," he called back to me, 
"that he's so damn fat. He's hot, baby, 
he's hot!" 

I'll say he was hot! I could feel the 
heat even now. The only question was: 
did he know it ? Did he know what had 
happened this afternoon between him 
and me, to him and me — at least, to 
me? Did he know that it had happened 
to him, too? What would he be like 
when he came to me at nine? What 
would he say? My God, what would 
he do ? 

I shuddered as if from the cold as I 
huddled in' the corner of my great car. 

When he came, he was as he had al- 
ways been. A little more nervous, per- 
haps, but that was accounted for by his 
excitement about the picture. Sam was 
with him. He had in his hands two 
shiny tin boxes. The boss, he said, had 
not seen what those boxes contained. 
The boss would be surprised; he was 
hot, the boss was, hot. 

I didn't know that I had a private pro- 
jection room in my house. As a matter 
of fact, I didn't know anything about 
the place except that it had a living 
room as big as the Town Hall audi- 



torium back home and a round, gold 
bedroom with a round, gold bed — and 
mirrors all around. 

I had never sat in a projection room 
before. It was like a little private 
movie theater with nothing to sit in but 
the back row. That's where Fritz and 
I sat while Sam worked the projection 
machine. 

It may have been my over-stimulated 
imagination, but when the lights went 
out, and we sat there, arm touching 
arm, I thought I felt again that same 
straightening of the huge body which 
had followed that embrace of" the after- 
noon. A gesture of renunciation! But 
wasn't it really a gesture of confes- 
sion? 

I don't know whether you have ever 
seen the "rushes" of a picture. They 
are the crude strips of film just as they 
come out of the camera, showing all the 
false starts and weak finishes, instead 
of the neatly cut and intelligently edited 
scenes which finally appear upon the 
theater screen. We sat there, Fritz and 
I, and watched all those awkwardnesses 
of mine, those ungainly efforts to walk 
and to fall, which had consumed the 
hours between nine o'clock and after 
one.. How I suffered! Then, at the end, 
came the scene which Fritz had grudg- 
ingly said would "do." 

"Wonderful, child!" he said now, as 
the lights went on, and the prostrate 
goddess in the golden gown faded from 
the scene. 

I knew he meant it. 

"Now, child," he continued, "can you 
stand more?" 

"There isn't any more, is there, Mr. 
Fritz?" 

"I may as well confess," he said, "that 
I played a trick on you this afternoon. 
While you and I and that young ham 
were talking on the set, the camera 
was working, concealed behind the scen- 
ery, and the microphone, too. All right, 
Sam, shoot!" 

THE lights went off. The whole scene 
between Fritz and me at the foot of 
the altar, his story of the picture, my 
questions, my little acting bits, the com- 
ing of Steve, the conversation between 
the three of us, the scene between Steve 
and me, and then — I was sure now; the 
big body beside me did straighten; he 
knew. 

This time, it was my turn to go; and 
I did so the moment the lights flashed. 

"Good-night, Fritz," I said, and ran 
headlong through the empty house, up 
the broad stairs, into the circular room, 
which must be my sanctuary. 

I suppose I knew he would follow. 
Anyhow, there he stood. I had scarcely 
had* time to slip off the evening frock 
I was wearing and fold one of those 
Paul Poiret negligees about me, when 
his great body towered in the doorway. 
I was right. He had known. He had 
come to me here. He loved me. 

Desperately, I tried to analyze my 
feelings at that crucial moment. Was 
it Triumph? Was it Love? Was it 
Passion? 

As he came toward me, where I stood 
in the centre of my vast yellow bed- 
room, my golden velvet negligee wrap- 
ped around me, I was clearly conscious 
of the fact that it was an arresting 
sight for any man to feast his eyes 
upon, especially as the mirrors on every 
side reflected the picture. And I no- 
ticed, too, how they reflected him as he 



78 



The Neiv Movie Magazine, February, 193b 



Hollywood Slave 

■lowly made his way he soft, 

voluptuous, yellow carpet. 

My mind flew back to the first night 
in his studio, when as I hail stood ex- 
posed to the cruel, hard eyes of 

■trangers, I had wanted to feel his giant 

body all around me as a protection. My 
wish had come true: from every direc- 
tion it was approaching, but, alas, not 
otect me. 

His green eyes were like living coals 
as he kept them upon me. I began 
a-.'ain to feel the warmth, the fire-like 
plow that had swept over me earlier in 
the day. Little, curling, yellow flames 
started licking at my toes and crept up 
inch by inch, until my whole body was 
enveloped in fire. 

He stopped just before he reached me. 
We gazed at each other, fascinated, 
spell-bound. Why didn't he come closer? 
Why did he leave me thus, burning, 
longing, wanting him? That was it. I 
did want him. I wanted to feel that 
big, strong body pressed against mine. 
I wanted those hands, which until today, 
had scarcely touched me, to take hold 
of me lovingly, violently, to stroke my 
hair, to caress my body, to hold me 
tight, tight, until these flames, so warm, 
so pulsating, so vibrant with desire, 
should consume us both upon a pyre of 
love. 

My head was beginning to swim, ray 
senses to reel, with this terrible, de- 
liriously terrible, emotion that racked 
me from head to foot. 

I was in his arms now; his hands 
were on me; his lips were seeking mine. 
All was forgotten. I had no mind; I 
had no soul; but I had a body! 

Unconsciously, I glanced around me. 
I wanted to see for myself that it was 
really so; that I was in the arms of this 
yellow-haired giant; that he was no 
longer Fritz Stresseman, the god who 
had created a goddess, but Fritz 
Stresseman, a man who had created a 
woman. 

There were no mirrors. There was 
no light. Yes, a long way off, a faint 
light shone through the darkness that 
enveloped us. My mind began to clear 
again as I became aware of the fact 
that we were back again in the temple — 
the temple of the sacred cat — and the 
light I could see was the light before 
the altar, on which was sitting the 
beautiful black cat with the body of a 
woman. 

Had Fritz also noticed it? I felt his 
hold upon me loosening; his hands 
dropped from my body. lie moved away 
from me. Without warning, he threw 
himself upon the ground before me. I 
was surprised to see that there was no 
yellow carpet, only stone flags of gold 
and black. 

As he clutched my feet, he broke into 
wild, uncontrollable sobbing. 

"Astra, Astra!" he cried, "save me, 
save me. Goddess of Truth and Beauty, 
Goddess of the Sacred Cat, save me, 
save me. I, a humble priest in your 
sacred temple, I love, I lust. My flesh 
is hungry for the body of a woman. My 
soul is dying within me, shrivelling be- 
neath the heat of this flaming desire 
which consumes me. Save me, save me, 
make me pure again, Astra, pure, pure 
as the stars." 

I knelt down upon the cold stone floor. 
I no longer felt the madness. I must 
comfort this poor, weak, suffering man, 
who was fighting with the last ounce 
of his strength against the temptations 
of the flesh. I was a goddess. I must 
(Please turn to page 80) 



• "Got my foot on the first 
rung of the ladder, all right! 
Grandpa Bays it's land of a 
hardclimb. But not for athletic 
felleraUkemeiril 




man-in-the-moon ! And I 
wasn't hardly half trying! My 
trainer certainly keeps me in 
championship condition tcith 
tliose Johnson Baby Powder 
rubs. And that reminds me — 
I've got a tip for all you 
Mothers . . ." 




"Try different baby powders 
between your thumb anil finger, 
just like this. Some of 'em feel 
gritty — but Johnson's is soft as 
silk! Anil our doctor told my 
mother, 'There's no zinc-stearate 
in Johnson's — and no orris-root.' " 

Send 10c in coin for samples of Johnson's 
liuby Powder, Baby Soap and Baby Cream. 
Dept. 71. Johnson & Johnson, New nra 



JOHNSON'S 




POWDER 



The New Movie Magazine, February, 1934 



79 




... and Jus eyes are saying — 
W hat .Lovely llanos ! 

In all the sum total ol a woman s 
charms, what is more alluringly Iemi- 
nine tlian the soft loveliness of fair, 
smooth-textured lianas! 



XN ow, with Pacquin s, even busy hands 
may nave tlie oeauty men adore and 
■women envy. Because Pacquin s un- 
like most creams, doesn t vanish — it 
penetrates, carrying into the skin pre- 
cious natural softening oils, so neces- 
sary to keep your hands youthfully 
smooth ana supple. It counteracts the 
drying, oil-roooing effect of exposure 
to water or "weather — the chief enemy 
ol hand oeauty. 

Try Pacquin s for a week. You 11 
rejoice at the way it softens and 
whitens your hands — you 11 find it 
different and pleasantly economical, 
because a little pat goes such a long 
way. Don't try to Aide your hands — use 




Hollywood Slave 

{Continued from page 79) 



In convenient 
sized jars, priced 
101 to $1.00. Also Pacquin's Cold 
Cream, Vanishing Cream, Lemon 
Cream, and Cleansing Cream. 

Pacquin Laboratories Corporation, New York 



help him. I must save him. I must ! 

As I held his yellow head in my lap, 
his face pressed desperately against me, 
his huge body shaking with the storm 
of grief that had overpowered him, I 
could feel the tears begin to fall from 
my eyes like cooling rain. The temple 
had gone, the altar, the cat — all dis- 
appeared. The carpet was there, soft 
and yellow. 

"Fritz! Fritz!" I sobbed, as we rocked 
back and forth in our grief. "I under- 
stand, I understand. Don't, don't suf- 
er so." 

Anguish was tearing my heart as I 
tried to comfort this broken-hearted 
man. Like a baby, he /clung to me, and 
like a baby I held him against me until 
the sobs grew quieter and he lay ex- 
hausted upon the floor, his head still 
on my lap. 

Like two children, we sat there in 
the centre of this big, mirrored room 
and like two frightened children, we 
clung together in shuddering under- 
standing as we realized that we were 
safe, that we had escaped the madness 
that had possessed us. We could still 
look at each other with innocent eyes 
and mutual respect. 

"You are a goddess, Astra," he said, 
in a soft worshipful voice. "You saved 
us. You kept us clean, pure, pure 
like the stars. And like the stars, 
Astra, that are obliterated by the 
fierceness and. heat of the sun's rays 
during the day, we can again shine in 
the cool midnight sky and feel the 
beauty of the world around us." 

He made no attempt to rise. He 
was no longer Fritz Stresseman, the 
confident, the unattainable, who 
thought he was god-like. He was a 
man, a humble and thankful man. 
• And what was I ? No goddess as 
Fritz had just said. I, too, was mor- 
tal, human; a woman who had almost 
failed this creature who clung to her ■ 
in desperation, in search of strength. 
I had not saved him. I had been even 
more willing than he to go down to our 
doom. What power had saved us? 
Whose hand had reached out from the 
depth of eternity, and plucked us from 
the edge of disaster? 

I WAS sure that it was for Fritz's 
sake that the miracle had occurred. 
That, to save him, I was allowed to 
become the goddess of his dreams. But 
in my heart, I knew I was not worthy 
of his praise, of his simple and child- 
like faith. I knew instinctively that 
this mood would pass, that Fritz 
Stresseman would come 'back again in 
all his arrogance and belief. And I 
also knew, he would never forget this 
moment when he had writhed upon -the 
floor, when he had found out that he, 
too, was human. 

He raised his head from its resting 
place and looked deep into my eyes. 

"I love you, Astra, I love you," he 
whispered. "But it is not to be that I 
should possess you. I shall always 
love you, adore you, worship you. You 
are indeed the Astra of my dreams!" 

Suddenly, he jumped to his feet, 
leaving me rather ignominiously still 
seated on the floor. He began to stride 
up and down in his familiar way. His 
voice regained its thunderous strength. 
His hands were once again expressing 
his thoughts as he flung them out to 
me. He lifted me to my feet. 

"My picture, Astra! Our picture! 



What would have become of it?" 
What did become of it was "swell." 
I was no longer the little vaudeville 
girl. I was a woman. The scene in 
the circular bedroom had aged me — 
spiritually, I mean; thank God, the 
rushes Fritz and I looked at each night 
did not betray it in my face! But I 
had grown. I felt things instead of 
acting them. And Fritz — he had 
grown, too. As if it were possible for 
such a great person to grow! Well, he 
had changed. He was less god-like, 
more human. I loved his humanness. 
I rose to it; worked to it; wore my- 
self to the brink of despair for it. 

AT length — and it was at length, for 
•£*• I am sure Fritz shot at least a hun- 
dred thousand feet of film! — my part 
in the picture was finished. I was 
finished, too. I did a fainting scene, 
that last day of shooting, which would 
have been a knockout for the altar 
scene — only it was done in my dressing- 
room, alone with Sarah. 

It was there that Fritz Stresseman 
found me, propped up on my golden 
couch, under the lamp with the ermine 
tails. 

"Child," he said, his huge body 
straightening as it had that first day 
in the studio and that first night in 
the projection room, "you have given 
everything. It is Fritz Stresseman's 
turn to give now. I had doctors 
for you. They have been watching 
you these last few days on the set. 
You have not known. I would not have 
you worried. But they were ready to 
care for you, if you fell. Now, you' 
have fell — no, what do you call it, you 
have fallen. You must go away. You 
must go to the desert." 

"To the desert?" 

"Yes," he said, his voice very low 
and caressing. "You must go to Palm 
Springs — not to El Mirador, not to The 
Desert Inn, not to The Oasis! You 
must not see people. You_ must rest. 
I have taken for you a beautiful home 
— it belongs to a famous politician from 
New York — where you will have every- 
thing and see no one. When the pic- 
ture is cut, when it is ready to be 
shown, Fritz Stresseman, he will tell 
you. Good-bye, child, good-bye !" 

I did not see Fritz Stresseman for 
three months. The process of cutting 
and editing a picture like "The God- 
dess" is a long one. The process of 
coming back from the kind of nervous 
breakdown I had was a long one, too. 
I don't know which factor was the 
dominant one in deciding the date of 
the gala premiere of my picture. I 
suspect that it was a little of both. 
However, Fritz was as nobody to me 
during all the weeks of my convales- 
cence, except for his flowers and his 
baskets of dainties, and a bracelet or 
two, which would have created a scan- 
dal in Cadiz, but which had already 
become, in the curiously inverted life 
I was leading, quite the natural ex- 
pressions of Fritz's regard. I was left 
to myself to "absorb" and grow strong. 

At last, the message came — his deep, 
resonant voice on the telephone. The 
premiere of "The Goddess" at Sid 
Grauman's Chinese Theater was set 
for the following night. I should not 
bother about clothes. Pierre had ar- 
ranged all that: furs, jewels, every- 
thing. The picture? Well, of course, 
it wasn't for him to say. Isadore, he 



80 



The Neiv Movie Magazine, February, 193 i 



Hollywood Slave 



said, thought it sva- "lousy"! I could 

Mm chuckling. I could almost 

feci him chuckling all the way from 

Hollywood t.» I'alm Springs. 1 could 

tell "that Isadora's verdict had decided 

him. He knew that the picture was 

1 knew it, too. I was crazy 

e it. 

Pierre was there in the round, gold 
room with the many mirrors, when I 
arrived, an hour before "microphone 
time," the night of the premiere. He 
had, as Fritz had said, arranged every- 
thing; the gown, the j ■ stock- 
ings, the underclothes, the kerchief, 
the brooch for the breast, the ring for 
the hand, the starry tiara for the hair. 
Paul was there, too, with his make-up 
box and his perfume. It was wonder- 
ful how these feminine men, these half- 
men labored over a hundred-proof girl 
like me — labored to do the will of a 
hundred-proof man like Fritz. 

As I reached the lowermost - 
ths broad stairs — half buried in the 
sumptuous ermine wrap which, Pierre 
said. Fritz had given me — the great 
man looked once more in the door- 
way, his huge figure draped in his most 
becoming and slenderizing enstume, 
the evening coat with the long tails, 
the shirt bosom with the gleaming 
studs, the high hat a silken crown 
above his thick, yellow thatch of hair. 

"Child," he said, as if we had parted 
only an hour before, "it is for you to 
go now. The hour, it is here." 

He did not so much as touch my 
hand. He hadn't since that one mad 
hour in the golden room. But there 
was suppressed excitement in his 
husky voice. I could not tell whether 
it was for me or for the picture. I 
dan say it was for both. Achievement 
and sex — how close they- are to each 
other, how they so often fuse! 

"Yes, Mr. Fritz," I said, meekly. 
"Am I all right? Do I suit you?" 

He did not answer. Somehow I 
understood that he could not answer. 
But my question, it did not go without 
an answer. 

"Baby," said Sam from an unseen 
corner, "you're a knockout!" 

Thus reassured, I stepped into the 
waiting landaulet, Fritz's landaulet, 
with the impeccable Claude — he of the 
six thousand air miles — impeccably T at 
the wheel. 

All I remember was that there were 
crowds. So many people in one small 
place I never did see. New York was 
nothing. Paris was nothing. Holly- 
wood on a Sid Grauman First Night 
is like no other place in the world. 
Hollywood crowds are the noisiest, the 
pushiest, the staringest crowds in the 
world. Fritz and I were, of course, 
the cynosure of all Hollywood eyes. 
Sid, himself, was on the curb to greet 
us. Stars of years' standing and proved 
box office value were held back while 
I, the untried, the unknown — not tin- 
unknown, but surely the untried — was 
persuaded to say a few words, in my 
"charming" broken English, to my 
dear American public! 

"Is I he picture really good?" I whis- 
p.Tcd to Fritz, as we walked down the 
centre aisle while the theater rocked 
with enthusiastic applause. 

"You'll see," he said. "You are, 
anyway!" 

I didn't know whether he meant I 

was good in the picture, or I was good 

now in my ermine and lace. But, 

whichever he meant, I did not need 

(Please turn to page 82) 




■■SI SSI \l I X SMI \ STII1N anil Xruv. showed 

what caused hei trouble . . . constipation. She 
confessed she hud been uslog cathartics . . . 



•I PRESCKIIIIU) VI..SST. H restored her elimi- 
nation to normal, purified hei system. Her 
headaches and tired feeling soon disappeared." 



DID you know that headaches — like 
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tongue, bad breath, thai "tired feel- 
ing" — may mean nothing more or less 
than an unclean condition of your in- 
testines? It's true! 

Eaten regularly — 3 cakes a day — 
Fleischmann's Yeast ac- 
tual ly"tones"and stini- 
5£Ji|"V ulates your intes- 
tines. It also softens 
the was tes that 
have accumulated 
--— there. 




Then, as your bowels Start to function 
normally again, you feel so much bel- 
ter. Digestion improves. You have 
more energy. You look better, too, the 
minute the clean condition of your in- 
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Isn't it worth the effort? Then try it ! 
You can get Fleischmann's Yeast, you 
know, at grocers, restaurants and soda 
fountains and each cake is rich in 
health-giving vitamins B, G and D. 

Just eat it before meals, or between 
meals and at bedtime — plain or in a 
third of a glass of water. Starting today ! 

CoDrrlulil, 1>.'34, Standard Brand, Incorporated 



The New Movie Magazine, February, 1934 



SI 




9 Maiden's prayer — matron's prayer, too, 
for that matter: "To have and to hold a soft, 
smooth skin." 

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skin against blemishes and ageing. And day 
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ITALIAN 
BALM 

THE ORIGINAL 
SKIN SOFTENER 

No iv also in 
tubes, 25f5 




Hollywood Slave 

(Continued from page 81) 



his assurance, I did not need the loud 
and obviously sincere applause of that 
jaded first night audience, to tell me 
that I was good in the picture, that the 
picture itself was good, that we were a 
success — this huge man and I. 

Isadore was giving a party — the in- 
evitable party for the star. Isadore 
had heard the applause, too. People 
he knew, relatives, neighbors, a rival 
magnate, had told him I was good. He 
was happy. He felt that he had in me 
a nice little property. In the car — 
it was Isadore's car which bore us 
away through the cheering traffic — he 
beamed first on me and then on Fritz. 

"Didn't I tell you, Fritz Stresseman, 
the moment I seen her, she would 
knock their eyes out? 'You have a 
winner, Fritz,' I says, 'you have a 
winner!' " 

I had only a vague idea what the 
little man was talking about, and I 
cared less. Even when he turned his 
attention exclusively in my direction, I 
did not bother to follow his remarks. 
I was, as a matter of fact, still weak 
from my attack of nerves, still quite 
unequal to the strain of a night like 
this. 

"What were you saying, Mr. 
Wentsch?" I managed at last, when I 
realized that he was waiting for en- 
couragement of some sort. 

"I was saying, Miss Astra, that I 
have a surprise for you," he said, fair- 
ly purring with the happiness of sure 
success. "We have another new star 
in Hollywood, Miss Astra — a male 
star, handsome like Barrymore, young 
like Buddy Rogers, and a voice like 
Novarro." 

"Who is this paragon, Monsieur 
Wentsch?" I asked, listlessly. 

"Paramount, you say, Miss Astra? 
This is a Wentsch star. He will be at 
the party tonight. He will take you 
down to the supper. His name — " 

"Here we are!" boomed Fritz 
Stresseman, and he handed me — one 
might almost say "lifted" me — from 
the car. 

I WONDERED afterward if Fritz had 
purposely tried to keep from me, for 
one last precious moment, the name of 
Hollywood's new male star. Perhaps, 
he thought I already knew it. It would 
hardly seem possible to one who had 
been living in the midst of Hollywood 
activities to realize how isolated I had 
been out there in my desert home, 
seeing nobody from the outside world, 
reading nothing which even remotely 
verged on news. Yes, he probably 
thought I knew. 

Everybody else did. Everybody else 
knew that a handsome young man, 
hitherto unknown to fame, had walked 
into a leading juvenile role in a Belasco 
and Curran revival of "The Student 
Prince," and at the San Francisco first 
night had walked off with the show. 
The critics had said that he had every- 
thing — looks, voice, acting ability, 
stage presence, personality. A sure bet 
for pictures — that's what they had 
said. And, of course, as always hap- 
pens when a performer clicks in a 
Coast production, all the little Isadore 
Wentsches of Hollywood fight with 
each other for the privilege of signing 
him up. 

All this had been happening while I 
was in the desert — this and the start- 
ing of the new find's first picture, in 



which, so rumor had it, he was a 
"knockout." Things move fast in 
Hollywood. The town not only makes 
moving pictures; it is a moving pic- 
ture. Six months ago, I was the new 
sensation; everybody was talking about 
me; and now, almost before my first 
picture reached its public, this new 
star was shining brightly, almost as 
brightly as I had shone, in the heaven 
of ballyhoo. 

T WOULDN'T say that the new sensa- 
*■ tion stole my party from me. I was, 
after all, the guest of honor, the 
glamorous European beauty, Fritz 
Stresseman's glittering success. But 
when, as is the custom in London draw- 
ing rooms and at Hollywood parties, 
the solemn butler threw open the doors 
and announced the great man's arrival, 
there was a stir, especially among the 
feminine guests, which quite equalled 
the excitement of my own entrance on 
Fritz Stresseman's arm. 

I was busy at the time, talking my 
best broken English in my best Euro- 
pean manner. In the chatter I did not 
catch the name which had caused all 
these thrills in my companions. It 
wasn't until I felt Isadore Wentsch's 
pudgy little hand tugging at my elbow 
and heard his grinning lips from the 
first ponderous words of introduction 
that I turned and looked straight into 
the level eyes of Travis Jackson. 

"This is the young man I tol' you, 
Miss Astra," said little Isadore, rub- 
bing his hands with proprietary glee. 
"This is. Mr. Jackson." 

"Trav— " 

My lips moved, but my voice did not 
come. Even my eyes failed to obey 
me. Slowly, against my will, as rf 
drawn by magnets, they left the steady 
brown eyes of my lover and sought the 
rleaming green ones of Fritz Stresse- 
man. 

If ever he were a hypnotist, this 
huge man with the yellow hair, he was 
in that moment when I might have, 
by one false step, by one hasty word, 
even by one ill-considered glance, 
pulled down around him and myself 
the structure he had so painstakingly 
built. When he let me go, and I looked 
again at my husband, I was a changed 
woman. 

"It ees a pleasure, Monsieur Jack- 
son," I said in a low, steady voice. 

The boy's startled eyes narrowed 
until it seemed as if they were one — 
one, great accusing eye. Without mov- 
ing, his body shrank from me as from 
an unclean thing. Were these things 
so, or did I imagine them ? My ears 
told me that I was imagining them. 
The handsome young man in front of 
me was saying with a casualness which 
amazed me: 

"Permit me, Madamoiselle Astra, to 
congratulate you on your picture. You 
were superb." 

With that, he turned to one of the 
group of beautiful girls who were 
pressing upon him from every, side. 
She was, I noticed, a blonde. 

"Will you dance?" he said, and led 
her, all too willing, from the room. 

I saw no more of Travis Jackson 
that whole night through. I do not 
know if he went home. Perhaps he 
was only avoiding me. I, worse luck, 
could not go home. I must stand there 
hour after hour beside little Isadore, 
greeting the late-comers, speeding the 



82 



The New Movie Magazine, February, 193 4 



Hollywood slave- The Nation's twins test 

the Nation's tooth pastes 



early-comers. For a time, I named the 
hope that Trav would come back to 
say good-night. If he had, 1 
have asked him t home. But 

he didn't. It was Fritz Stivsseman 
who took me home in the dawn. 

Be laid nothing, Fritz. Be did not 
offer to come in. At the door, he 
took my hand and kissed it. bowing 
low as if I were indeed Mademoiselle 
Astra and not ju.st a Hollywood slave. 

I could not sleep. Tired as I was. 
I stood for what seemed like an 
eternity watching the sunrise from the 
window of my circular gold bedroom — 
my cell, in which I must live out my 
miserable life in lonely bondage to a 
lie. Mademoiselle Astra! I hated the 
name. I hated myself. I hated myself 
because I was a liar and a cheat. But 
I hated myself most because 1 had 
denied my earthly lord and master for 
the third time. Quickly I turned from 
the window — lest I hear the cock 
crow! 

That is my story. 

At least, it was my story until a few 
minutes ago. Fritz has been here — 
Fritz, who loves me. He was wonder- 
fully gentle. It is amazing how gentle 
such a big, heavy man can be! 

He had been talking, he said, with 
Isadore about my next picture. He 
had had an idea; it was to co-star 
Travis Jackson and me. 

"But Mr. Fritz—" 

"I know, I know! You will fall in 
love with him. You will marry him. 
I told Isadore that would happen. He's 
crazy about the idea. He's probably 
writing the headlines now: 'Marriage 
of Europe's Most Glamorous Star to 
America's Handsomest Leading Man.' " 

"But Mr. Fritz, I'm married already. 
Travis Jackson is my husband." 

"I know, I know!" He turned away 
those great green eyes to hide some- 
thing which was suspiciously like a 
tear. "I know, child. I've known it all 
the time." 

He had control of himself now. He 
threw back his great yellow head with 
his old gesture of god-like confidence. 

"What is a husband," he said "to 
Fritz Stresseman!" 



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Twins. ClaRBNCB, I tURBNCI I'm-moT, 
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The New Movie Magazine, February, 193U 



83 




NO MORE DATES WITH HER 

— SHE DOES NOTHING BUT 

POWDER HER NOSE 

ALL EVENING 




Pretty As a Picture... 

But This Fault 
Made Her Seem 

COMMON! 

THE first man who ever really attracted 
her — and she knew she had lost him. She 
never dreamed of blaming her "eternal pow- 
der puff." She never realized it made him 
think her cheap, and gave him the impres- 
sion she had a coarse, greasy skin that was 
— well, not well cared for! 

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the tiny blemishes, caused by ordinary, 
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Her skin glowed with a fresh, natural peach- 
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Meet Max Baer 

(Continued from page 37) 



Camera and I really mix 'em up when 
there aren't any cameras around and 
we don't have any director to tell us 
when and how to hit." 

It was because of his friendship with 
Jack Dempsey that Max came to Holly- 
wood. The two men, the veteran 
champion and the newcomer, met in 
Reno where Max had gone to rest and 
play after one of his bouts. They be- 
came friends and Jack, who had taken 
a flyer in pictures, himself, several 
years ago, saw the screen possibilities 
in the younger man. 

Also in Reno Max met Dorothy Dun- 
bar, the girl whom he married and who 
recently divorced him. Max's real ro- 
mance has been as stormy as his screen 
love affair. Dorothy, several years 
older than the boy from Livermore, 
represented to him the culture, the 
worldly-wisdom, the charm of which he 
had only faintly dreamed during his 
ranch boyhood and the long, gruelling 
years of his climb to fame. They 
rushed into marriage. Their tempestu- 
ous quarrels were followed by equally 
tempestuous reconciliations. 

They came to Hollywood together and 
rented a beach house at Playa del Rey, 
a large place with a swimming pool 
and all the necessities for entertaining 
hosts of friends. Max was boyishly 
proud of that house. He invited every- 
one to a continuous open house. He 
bought a big car and wore perfectly 
tailored clothes of the newest cut but of 
perfect taste in design and color. 

"I love Hollywood," he enthused dur- 
ing - his first weeks, "I'd like to stay 
here forever and make pictures. It's 
swell." 

BUT, by the time the picture was 
finished, he was ready to go back 
to the ring'. And before the picture 
was completed, he and Dorothy had 
come again to the parting of their ways. 
They left the beach house. Max moved 
into a Beverly Hills hotel and Dorothy 
sued for a Mexican divorce. Max 
laughed a great deal and loudly. He 
was seen everywhere, dining and danc- 
ing with different girls. Only his 
closest friends noticed the strained look 
in his eyes, knew the long, sleepless 
nights which he spent, worrying and 
wondering what was to be the next 
step in the hectic course of his marital 
career. 

In the final scenes of the screen story 
of a prizefighter's life, the boxer returns 
to his estranged wife and, on his knees, 
begs her forgiveness. On the day that 
these scenes were made, Dorothy Dun- 
bar Baer was granted a divorce from 
Max. As the actor Max faced Myrna 
Loy before the cameras, there were 
honest tears in the man Max's eyes. 

Hollywood was more or less a vaca- 
tion for Max. He gave up his training, 
except for daily rope skipping and bi- 
cycle riding and as many games of golf 
as he could crowd into his busy days. 

"I'll be glad to get back into shape 
again," he said toward the end of his 
studio stay. "I'm getting flabby and 
slow on my feet. The lights take a lot 
out of me. I'm not used to them. As 
soon as this picture is finished, back I 
go into real training." 

Before a fight Max's days begin at 
six in the morning. Wearing heavy 
woolen underwear, flannel trousers, a 
sweater and hobnailed shoes, he takes a 



five-mile fast walk, running at intervals, 
then slowing down to a rapid walking 
speed. He returns to his quarters, 
takes a tepid tub bath and a brisk body 
massage and sleeps for an hour. 

Then he has a breakfast of orange 
juice, lamb chops or steak, potatoes, 
toast and coffee. After that he reads, 
plays cards, talks or writes letters until 
eleven o'clock. Once again he goes to 
sleep, napping until one-thirty. When 
he awakens, he is ready for his real 
work-out. He shadow boxes three 
rounds. He boxes two rounds each 
with four different sparring partners. 
He skips rope rapidly for two periods 
of three minutes each. He punches a 
"fast" bag for two rounds. And he 
tops off this afternoon of work with a 
series of body exercises to strengthen 
all his muscles. 

THIS strenuous physical activity is 
followed by another nap until dinner 
time when he usually eats a generous 
portion of vegetable stew as his main 
dish. Two nights each week he goes to 
motion pictures or to the theater. The 
other nights he is in bed at eight-thirty. 
From such training schedules are 
heavyweight champions manufactured. 

As soon as a bout is finished, Max's 
trainer permits him to forget all rule 
and ritual for a week or two. He can 
stay up late, eat what and when he 
pleases, give up all exercise except the 
golf, which is his favorite recreation. 
After that respite, he goes back to a 
semi-schedule of supervised food, hours 
and exercise until it is time to begin 
another period of intensive training. 
In the past five years Max has fought 
forty-seven bouts. So his rest periods 
have been few and brief. 

Even in Hollywood Max could not 
get completely away from the habits of 
his training quarters. Invariably he 
was awake at six in the morning. Al- 
ways he managed a short game of golf 
or a bicycle ride before he reported at 
the studio for his day's work. On the 
nights when he was not out visiting 
the Hollywood bright spots, he was in 
bed at his customary eight-thirty. 

"The one thing about pictures which 
gets on my nerves is the waiting be- 
tween scenes," he said. "I can't just sit 
still. I've got to keep moving, doing 
something." 

Max paced the sound stages, restless 
with energy, while the more experi- 
enced actors relaxed and conserved 
their vitality. Max has not yet learned 
the meaning of the word conservation. 
Even during the lunch hour, he was 
not content to sit and eat. He prowled 
around the studio commissary with the 
panther-like tread of a born-to-the- 
gloves boxer, looking for mischief. 
Jimmy Durante, otherwise known as 
Schnozzle, was the victim of many of 
his pranks. It was an almost daily 
sight to see the huge Baer pick up the 
slender Durante, swing him over his 
shoulder as easily as if he were a baby 
and carry him through the doors, much 
to Jimmy's mortification. 

Max swept through Hollywood like 
a swarthy tornado. Nothing could 
frighten or awe the big, black Baer, 
who fights for the sheer joy of fighting. 
He wasn't afraid to huff and to puff 
and, if he didn't blow the studio down, 
it was only because it was made of 
strong concrete. 



84 



The Neiv Movie Magazine, February, 19SU 



Go on Thriving 
Baby Leroy 

(ContiniM <i from \"<y 62) 

then follows his afternoon nap. When 
he wakes he is sponged and taken back 
on the .set for another thirty minutes. 
Hi- bottles, his zwieback and his broths 
are given on the set at regular hours. 
He is home and asleep at 6:15 every 
night. 

He's a normal, healthy, regular fel- 
low — this 17 months old Baby Leroy, 
and yet few babies in the world have 
ever been more talked about. Certainly 
no baby lias been photographed so 
much or has caused so many laughs. 
Having broken into fame with Maurice- 
Chevalier in "A Bedtime Story" he ap- 
peared in "Torch Singer." His next 
achievement will be in "Miss Fane's 
Baby Is Stolen," a Paramount picture 
based on Rupert Hughes' story — with 
a cast including Dorothea Wieck, Jack 
La Rue, and Florence Roberts, under 
the direction of Alexander Hall. 

During working hours Baby Leroy 
is attended by Miss Rachel Smith, who 
is not a nurse, but an expert in child 
training appointed by the Los Angeles 
Board of Education to look after the 
famous baby actor on the set. 

Baby specialists and nurses have been 
called into service to arrange his diet 
and schedule. It's important not only 
to keep Baby Leroy the sound, sturdy 
little fellow that he was when he 
signed his seven-year contract with 
Paramount, but it's important also in 
order to keep him laughing and gurg- 
ling and jabbering in the most amusing 
manner. Paramount knows as well as 
any mother that Baby Leroy 's smiles 
and amusing antics depend on a well- 
planned routine of sleep, fresh air, 
play, sunshine and baths and diet. 

Baby Leroy's diet has proved en- 
tirely satisfactory for Baby Leroy 
but it's not the only good diet — pos- 
sibly it is not the one best suited to 
your own baby. Now, thanks to enor- 
mous improvements in food products 
suitable for young children and the 
tireless work of scientists and special- 
ists, mothers everywhere can obtain 
foods they need to make their babies 
sound and strong and happy. 

This month's food circulars give up- 
to-date information and suggestions 
for feeding babies in tbe most ap- 
proved and convenient way. Here they 
are: 

1. Milk in the diet of babies and 
young children. 

2. Vegetables and how to serve 
them. 

3. Fruit in baby's diet. 

4. Orange juice. 

5. Pineapple juice. 

6. Cereals in baby's diet. 

7. Meat and eggs. 

8. Diets and menus for babies and 
young children. 



1 










The latest gossip 


of 






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b 


•ought to you each 


mor 


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by NEMO 







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7 



The New Movie Magazine, February, 1934 



85 




IN THE 
SAME BEAUTIFUL 
DISHES! 




OVENSERVE 

Now — for the first time women can feel 
proud to serve from the same dishes 
they use for baking! 
OvenServe is the handsome new ware 
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Sold at Many F. W. Woolworth Co 
Five and Ten Cent Stores 



I Loved Garbo 

(Continued from page 31) 

of New York for her. She had tears 
in her eyes over the big buildings, but 
Stiller was placid and hunched down 
in his seat, in the corner. 

"She thought I was a lot of fun. I 
think it was probably because I was the 
first American boy she had ever met 
. . . she was such a kid . . . about 
nineteen, I think. I got them all set- 
tled at the Commodore and then I went 
home. I couldn't sleep. I could feel 
her power even then." 

He lit a cigaret quickly. 

"The next morning I began talking 
about this girl. Everyone treated it as 
a big joke. They told me not to get 
infatuated with immigrants right off 
the bat. They all thought it was just 
because I was so new in the game that 
I should like this — they couldn't even 
think of her last name. Finally, I 
persuaded one person, Gladys Hall, to 
interview her. It was certainly an in- 
spiring interview ... all that Gladys 
could get Greta to say was: 

" 'Mr. Stiller, he is a great director.' 

"This Stiller had the biggest hand. 
The biggest one I'd ever seen. But then 
everything about him was tremendous. 
He had a great soul. And if a young 
girl like Garbo loved him, it is under- 
standable. As I look back on it and 
think of her expressions and her man- 
nerisms when near him, I recall her as 
being decidedly filial and most rever- 
ential. 

GARBO got sick with a cold. You 
see she had worn a heavy suit, 
and I think that it was the only one 
she had ... we took her to Coney 
Island after she begged us for two 
days. She wanted to ride on the roller- 
coaster. She stayed on the darn thing 
for almost an hour. I was nearly broke. 
She ate all sorts of hot dogs and pop- 
corn and taffy and she shouted like a 
little boy over the different amusing 
things there . . . because of the cold 
she got that night, she was in bed for 
several days. But I had made an ap- 
pointment with one man named Roberts 
to have an interview the following 
morning. I had got down on my knees 
and begged him to do it . . . we took 
-'long a little interpreter and went to 
Garbo's hotel. We knocked on the door, 
but she did not answer. We pounded. 
Still no answer . . . my heart was in 
my mouth. I was crazy about her and 
I thought of all sorts of things she 
might have done on account of some 
mood or other . . . Finally I shoved 
the door and it opened just so far where 
a chain lock held it. 

"'Greta!' I called. Then I looked in. 
She was sitting in bed reading calmly. 
. . . I told her why I had come, and 
explained that she must stay in bed 
and have the interview there. She 
finally glanced up at me over the top 
of her magazine. Her eyes looked very 
blue and clear. 

" 'Hoobert . . .' she said. 'Hoobert, 
go avay, and stay avay!' 

"I pleaded and cajoled until finally 
she nodded her tousled head. She 
nodded it, but we had the interview 
through the crack in the door. Then 
it was that I saw her 'I tank I go home' 
attitude for the first time . . . she 
simply crawled into her shell. She had 
moods occasionally that were frightful. 
They made her miserable, and me 
miserable, and everyone else . . . but 
she made up for them by the highs she 



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86 



The Neiv Movie Magazine, February, 193 A 



Loved Garbo 



hit later . . . she would be m> rollick- 
Dig and - ■ much more fun that I got so 
that I didn't mind them at all. 

'•When she got better, she wanted to 
the theater, so I took her to see 
'Valencia' . . . Garbo started to hum 
the tune when we left the theater . . . 
she was singing it furiously by the 
time we got home . . . she loved that 
Bong. She doesn't sing very well either. 
I would try to divert her, but she sang 
on and on. She loves jazz. Well, then 
she wanted to go to the theater every 
night. I didn't have an awful lot of 
money, but I didn't care. She was 
worth every worried hour I spent with 
her. She was a marvelous companion. 

"I introduced her to my boss. Dietz. 
But he was unimpressed. He just 
thought that I had fallen for this gal, 
hook, line and sinker ... I phoned 
Nicholas Schenck and asked him if he 
wouldn't like to meet Garbo. She was 
Garbo by that time, you see . . . hut 
Mr. Schenck said 'No-thank-you-he- 
was-much-too-busy.' Besides, he added, 
lie had seen Miss Garbo in the lobby of 
the hotel and that was sufficient." 

He looked very earnest when he made 
the following- remark: 

"I had such faith in her, you see . . . 
such faith . . . She was lovely and 
sweet, and her way was the way of a 
great woman. I couldn't believe thai 
she was mere excess baggage in the 
Stiller contract — or if she were that 
she'd stay that way long . . . 

"As I said, my resources were get- 
ting low. I had little or nothing, hut 
finally I persuaded a photographer to 
make some pictures of her. The photo- 
graphing took place in her hotel room. 
The photographer was Russell Ball. He 
was highly skeptical when I told him 
of my desire to have him make pictures 
of her — hut when he saw his subject, 
he changed his mind. He saw great- 
ness in her. He exclaimed later over 
her wonderful mobility of expression. 

"The little Garbo went through her 
poses with much enjoyment. Finally, 
Ball said that he would like to do her 
in something colorful, but neither of us 
could speak Swedish and she could not 
speak much English, so I did a little 
pantomime, wrapping myself up in air 
and doing a Spanish dance and pointing 
to all the bright colors in the room 
... all to her dark amusement. Then 
as if she understood right from the 
start, she nodded very sagely anil left. 
Ball 'and I chatted and he let me 
Understand that he, too, was interested 
in helping this girl. We were deeply im- 
mersed in conversation when Garbo ap- 
peared in the doorway. She was very 
iinii id at herself and she had every 
right to be. She was like a child in 
her joy. She was wearing a veil of 
gossamer-like material — very alluring, 
and hut for that had nothing on but her 
skirt. Those pictures were later used 
in 1 'anity Fair. 

"She was so eager . . . she even 
went to Weingartcn's, the inexpensive 
clothier in New York, to pose for some 
publicity pictures . . . they are in 
the Times morgue . . . someone ought 
to retrieve them . . . 

"The time for her departure was 
growing to a close ... we spent many 
days in conversation ... I wanted 
her to understand a few words of Eng- 
lish ... she tried hard and did learn 
a few. 

"She left. 

(.Please turn to page 88) 



"LOVI 



i©m<& mu 



™ 



PLEASE LET ME TURN OFF 
THE RADIO, AUNT VI 

I USED TO BE CRAZY ABOUT 
THAT SONG BUT NOW.... 



OH, I SUPPOSE SO ... A MAM 
I MET ON MY VACATION . HAD 
OPNNER WITH HIM IN TOWN 
AFTERWARDS IUST ONCE 



"LOVER, I LONG FOR THEE"? 
WHY, DEAR. DOES IT REMIND 
YOU OF SOMEONE ? 



\ 




ATTENTIVE OUTDOORS- 
INDIFFERENT INDOORS!! 
WAS THE RESTAURANT 
CROWDED AND 

STUFFY? DID 
YOU DANCE ? 




YOU SAY HE MIGHT NOT 
NOTICE IT OUT IN THE AIR, 

BUT INSIDE WHY, 

AUNT VI, YOU CAN'T MEAN 
I'VE BEEN GUILTY OF "B.O." 




LIFEBUOY'S THE 
NICEST SOAP ! 
MAKES ME FEEL 
SO FRESH AND 
CLEAN. NO'S-O." 
NOW ! 




FOU N D one lost sweetheart! 

■ (since Lifebuoy ended B. .") 




"YOUR COMPLEXION IS SIMPLY RAVISHING" 



"VV7'ANT>o//»'Complex- 
Wion to win compli- 
ments like this? Wash 
with Lifebuoy nightly- 
watch skin clear and 
freshen. Lifebuoy lather 
deip-c/tanses pores. Leaves 
skin free to breathe 
— free to grow lovely! 

"B.O. "never warns 

Any one of us may un- 
knowingly offend. Play 
safe — bathe regularly 
with Lifebuoy. Its 
clean, quickly- 
vanishing scent 
tells you Lifebuoy 
lather deodorizes 
pores — stops 
"Q.Or(badyoUor). 





The Neiv Movie Magazine, February . 193b 



87 



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I Loved Garbo 

(Continued from page 87) 

"I didn't see her agai.. until June. 
But a funny thing happened when she 
first got out to Hollywood. She was 
discussing her contract with Mayer 
and she asked him please to send the 
car around for her at seven every 
morning. Mayer, a bit bewildered, 
asked her what car. Garbo returned, 
the car that every contract player re- 
ceived from the company, of course. 
She was a nice, naive person . . . 

"I was sent out to Hollywood on a 
vacation that June. I thought of her 
all the way out. People said she was 
unapproachable, stern, haughty . . .1 
I didn't think I wanted to see her . . . 
it was because I had cared and I did] 
not want to be disillusioned . . . 

"I went on her set, however . 
she was doing a garden scene . . . J 
the picture wc.s called "The Temptress' 
. . . she was high above me ... I 
was below. And I thought: 

" 'It's funny ... I stood below her 
once before. I stood watching her the 
same way, as she stood on the top deck. 
But before she was nobody and now 
she's the Great Garbo' . . . 

"I can't tell you how I felt . . .. 
I felt — oh, gosh . . . And while I 
stood there, John Gilbert, for whom I 
had done publicity work while in New 
York came past me. He didn't see me. 
Well, maybe, he didn't see me . . . 

FRED NIBLO, the director, stood be- 
side me. Garbo came down the stair- 
way. She threw a cloak around her 
shoulders and walked quickly past me. 
I wanted to run away and cry like a 
kid. We had been such grand friends. 
I took off the dark glasses I had worn — 
my eyes are sensitive to movie lights. 
Suddenly I heard this voice, 

"'Oh, Hoobert! Oh, darling! Oh, 
Meester Voight!' 

"I felt dizzy and Niblo was staring 
at me. She threw her arms around my 
neck. 

" 'Oh, but dis iss fine!' she cried hap- 
pily. 'Meester Niblo — feex it up with 
the cameraman to take us a picture for 
a memory.' 

"That's how I got that picture on 
my desk . . ." 

He gave it to me. There sat the 
queenly Greta very much astride a 
ladder with Niblo and myself . . . 
Her face was piquant and joyous . . . 

"I remember," he went on. "I re- 
member I told her that she spoke 'Eng- 
lish very well, and she was so pleased 
. . . she had worried, she said, about 
that ... as I was recalling some of 
the fun we had had together in New 
York, she said, very sadly and with a 
little look of loneliness buried in her 
eyes: 

" 'I am so unhappy here, Hoobert, I 
theenk I would like New York.' 

"I went home soon after our meet- 
ing', and I didn't see her again until 
the following June. Then I received 
a cable that she was coming from 
Sweden, after her vacation. Every one 
of those persons who had conscienti- 
ously refused to meet her on her first 
trip, simply begged me for cutter 
passes. I got Schenck one ... I liked 
the irony of the idea ... he bought her 
a hug-e bouquet of flowers and trotted 
alongside like a schoolboy. He could 
hardly speak when he met her. But 
Garbo was wonderfully calm and col- 
lected and well-mannered. 

"I got her a suite free at one of the 



The New Movie Magazine, February, 193 i- 



Loved Garbo 



larger hotels in the midtown section." 

Be stopped Buddenly as if perplexed 
over something or other . . . 

"I think she was a recluse then . . . 
she was sort of strange about people 
. . . they had been cruel to her, don't 
you see? Well, I phoned her about 
five o'clock of the same day, and she 
was in bed. 

" 'There are a lot of people who want 
to see you and to talk with you very 
much, Miss Garbo,' I said. 'In fact, 
they very much want to talk with you 
. . . they want to do a lot for you . . . 
they are going to take pictures and 
write beautiful things about you — ' 

"She was laughing when she an- 
swered, 

" 'Oh, poor Hoobert ... I am so 
popular now . . . with all dees people 
and I do not want to be popular . . . 
make them go avay like a goot boy and 
we will go out later . . .' 

•' 'Miss Garbo,' I put all the tears I 
could into my voice ... I pretended 
that my life just hung on getting those 
interviews, so I said: 

" 'Miss Garbo, I am going back to my 
boss and tell him that I have failed to 
get three little interviews ... I feel 
just like you when you are told that 
you are not capable of playing a part 
that you very much want to play . . .' 

" 'But Meester Gilbert, he does not 
have to have interviews . . .' 

''I said nothing. 

"There was a long silence over the 
other end of the wire . . . then came 
a deep sigh. 

" 'O.K. Hoobert, I do it for you— but 
not for Meester Metro.' 

"I kept those interviewers waiting 
on pins and needles. Those interviews 
later were classics. The poor victims 
who wrote them were shot through the 
ordeal before they knew what had hap- 
pened. 

"\ 17 ELL, then later we went to an 
VV apartment where Lawrence Tib- 
bett and his wife and Margaret 
Sangster, the poetess, were being enter- 
tained. Here Garbo threw off her re- 
serve in the center of all these charming 
people and laughed with more gaiety 
than the rest . . . this is sort of cute: 
she got a wee bit tipsy on champagne 
and she was singing in Swedish so ador- 
ably that everyone was excruciated . . . 
I sat there watching her ... I saw a 
new sophistication — a polishing off of 
the rough corners, but there, under- 
neath — not bothering to remain hidden, 
was the real Garbo ... a marvelous 
friend . . . and a child of the sun 
. . . and of joy . . . she was the 
most beautiful creature I have ever 
seen that night . . . simply shining 
with life . . . 

"Afterwards, she wanted to walk 
home . . . but she hadn't made ten' 
steps before she was mobbed. I shoved 
her into a cab and we drove her to the 
hotel. She crouched in the corner with 
her eyes moody and unhappy ... it 
was such a contrast to the light danc- 
ing person . . . my heart bled for her 
future. 

"Several nights after she was pre- 
paring to go home, so I helped her pack 
her bags . . . she had among other 
things some Swedish money which she 
wanted to have exchanged for Amer- 
ican. I went out to take care of it for 
her but the only way that I could cash 
it at that time of the night was to lose 
(Please turn to page 90) 




'It's funny, Molly — Peggy's always loved the ride before. But she's 
been acting just this way for a whole week!" 




"She's not hungry, either. I've found, Nan, that these symptoms mean 
it's time for a laxative. Give Peggy Fletcher's Castoria tonight." 




"We want to report that Peggy's fine today — a perfect Iamb! We 
both can't thank you enough for suggesting Fletcher's Castoria." 

"A good laxative was all the child needed, Nan. And Fletcher's Castoria is 
made especially for children. It's easy to take — tastes good, and hasn't any 
of the strong drugs in it that make most grown-up laxatives so harsh. But 
one word of caution — make sure that the signature Chas. II. Fletcher 
is always on your carton!" 



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stomach, and as the very first treatment for colds — give Chas. II. Fletcher's Castoria. — 



The New Movie Magazine, February, 193 % 



89 



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90 



I Loved Garbo 



{Continued from page 89) 

one-twentieth of its value. I guess I 
couldn't have done any better in the 
day time either . . . this .would not be 
necessary in California. When I told 
her this, she said, 'O.K.' and then she 
added, 'I have yoost enough for meals 
on the train . . . I'll save the ten.' 

"On the way out of the hotel, she 
asked me how much she should tip the 
girls at the desk. I answered: 

" 'About five apiece. Write them a 
check for it . . . they'll frame it.' 

" 'Oh, Hoobert,' she cried gleefully. 
'You give it to them! They'll like it 
much better coming from you!' 

(Oh, thrifty Swede!) 

"All the way down to the train she 
sang, 'I can't stop lovin' that man' — 
she had heard it in a speakeasy the 
night before. 

"Before she left, however, she had 
contracted a bad sinus cold . . . she 
had to have a certain kind of light to 
afford herself any relief ... I bought 
her the light, and had it put into her 
compartment with a special plug made 
and fitted into the wall . . . also, I 
remember, she begged me to get her a 
Swedish version of 'Anna Christie.' I 
could buy only an English version, so 
I had the little interpreter who had 
gone to the boat that first day translate 
it into Swedish for her ... I wonder 
if she still has that . . ." 

He seemed steeped in memories . . . 

"You see," he said softly, "I don't 
know this person they are talking about 
today ... I only know yesterday's 
Garbo . . ." 

He looked at me strangely . . . 

SHE was so human . . . that second 
time, when we met her at the boat 
... I had given a pass to a little 
girl of ten,, who had made a beautiful 
scrap-book of Garbo with her clippings 
and pictures in it . . . every clipping 
ever printed about her in New York 
City . . . she even had her name 
worked in colors on the crocheted cover 
... I had given her this pass so that 
she could see Garbo close. As we were 
going to our car, I saw this little eager 
face peeping out among a lot of people. 
I called the guard and had him bring 
the child over. Her face pale with 
excitement she gave the book to Garbo 
. . . Garbo smiled at her, and her eyes 
were very wet. The little kid gazed 
frantically at me, then at Schenck and 
then at Garbo . . . she fell in a dead 
faint on the concrete . . . the thrill 
was too much for her . •. . later we 
learned she refused to eat her break- 
fast, she was that afraid of missing 
Garbo. The latter knelt beside her in 
her expensive fur coat, impervious to 
staring eyes and rubbed her temples 
with the water the guard brought . . . 
When the little girl recovered she 
reached for her beloved book, her eyes 
never leaving Garbo's face. 

" 'Yoost one minute,' Garbo said. 
'Giff me a pen somebuddy . . .' 

"She wrote her name in big letters 
across the first page . . . that is the 
end of my story . . . that is all I 
can tell you . . ." 

The telephone rang. I walked to the 
door. There I turned around and 
glanced back. As he carried on the 
conversation, his eyes were fixed on 
a picture of a young girl laughing 
up at him, gaily astride a lad- 
der . . . 



DO YOU KNOW 

WHAT THESE 

GIRLS ARE SAYING? 




Can they say this 
behind your back? 

"Why in the world can't 
someone tell Meg! She looks 
so plain . . . and she'd be 
positively lovely if she only 
knew how to make the most 
of herself. That's something 
every woman has to learn." 

"Yes, but you just can't make 
personal remarks to people. 
And think of the thousands 
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The New Movie Magazine, February, 193 % 



Close-Ups 

From Secret Service to 



Stud 



ios 



and Paul, disguised as a peas- 
girl or a nurse. I>ue to her they 
e released alive. 

he has the Order of the British Em- 
, the Golden Medal of St Anne, 
George's medal for bravery 
tire. 

After the war, missing the excite- 
ment, she came to America to gather 
dope for a book. Concealing her iden- 
tic persuaded Col. Joe Miller to 
let her travel with the Cossacks in his 
famous 101 Ranch Show. Hollywood 
took her fancy. Now she's— but go back 
and read the beginning again. 



idc 



A Fan Made Her Famous 

(Continued f row pagt 17 i 

biting her night-club manager, Sam 
Balkin. She told the juii. 

"It was an unladylike thing to do 
but I had to defend myself." 

Also, during the Chicago Fair, Sally 
again made the news pages. She fell 
into the Chicago River, while traveling 
on a speed boat from the Fair to the 
night club where she worked. Ami, 
back in 1929, Fightin' Sal and her 
brother Hal got into trouble with Jack 
Haskell, dance director for Arthur 
Hammerstein's "Luana." It seems that 
Haskell fired Sal and Hal, ingenue and 
chorus boy respectively in the show. 
Hal said Haskell took a poke at Sally, 
so he took one at Jack. Everybody went 
to court. And eventually all walked 
out of the courtroom arm in arm. 

It was a tough road for our Sally, 
you see. Rocky — often poverty stricken. 
And she claims to have studied philos- 
ophy and ethics and art — at Columbia 
University and the New York Art In- 
stitute. Which is spiffy training, you'll 
admit. She's still in her twenties— this 
muchly publicized damsel who was born 
in Winchester, Kentucky. Movies, 
vaudeville with Gus Edwards' troupe, 
cafe work for Lew Leslie, pictures for 
Sennett, Roach, Christie, DeMille, 
Wampas stardom, more vaudeville. 
chorus work, dramatic acting with 
DeWolf Hopper, fan dancing — to earn 
a great deal of money, to help her in 
"a carefully planned effort toward dra- 
matic success." And now — Paramount 
contract. You'll see her first in "Bolero" 
with George Raft and Carole Lombard. 
Then — well, here's hoping Sally'll sally 
forth to success. 



They Run a Shop 

(Continued from pagt 17) 

New York — no imports whatsoe 
until business has progressed enough 
to warrant the start of a style 
right in Hollywood. This, Mrs. Lyon 
and Mrs. Gallagher are confident, will 
happen eventually. In the shop they'll 
employ ten saleswomen, besides fitters 
and window dressers and such. 

"I'll be doing my part for the NRA." 
is the way Belie expressed herself to 
me during her recent shopping tour in 
(Please turn to page 92) 




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Only Tangee could do this for only Tangee 
incorporates the magic color-change principle 
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In the stick Tangee looks orange. But put it on 
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Moreover, Tangee is made with a special 
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while it adds to their allure. No drying, crack- 
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Don't be switchedl 
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And patronize ihc 
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Get Tangee today— 39c and $1.10 sizes. Also 
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Cheeks must not look painted either. So use Tan.ce; 
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Refills and save money. 



UNTOUCHED-Lipslcft 
untouched are ape to 
have a faded lock . . make 
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PAINTED -Don't risk 
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The New Movie Magazine, Februafy, 7.".; ', 



91 



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Close-Ups 

{Continued from page 91) 

Manhattan. "I believe that people who 
have something put away should get it 
out now and invest it in something to 
help others who've been hard hit. You 
can't tell just how much we'll accom- 
plish by this venture of ours!" 

The store is so patriotic that even 
the decorating scheme is red, white and 
blue. There are midnight blue walls, 
snow-white woodwork, fixtures and fur- 
nishings, red ink-wells on the desks and 
red flowers. It's not a big shop; has 
three intimate rooms — arranged for 
sports, afternoon and evening clothes 
respectively. Everybody will be able to 
buy things — extras and stars, because 
of the wide price range. 

Bebe wants it understood that the 
shop is not going to take up too much 
of her time. She's not giving up her 
movie career — not by a long shot! 
Whenever she's in between pictures 
she'll make trips East with Pauline to 
buy clothes. She'll try to arrange her 
affairs so that one career doesn't inter- 
fere with the other. It shouldn't be too 
difficult ! 

Among the other Hollywood business 
folks are Sally Eilers in the lingerie 
line; Charles Bickford with a garage 
and William Haines, antique dealer 
de luxe. 






The Noisest Man Alive 

(Continued from page 48) 

Gentlemen: I give you Spivack! 

"The paramount problem," says Mr. 
Spivack, as though he had forgotten his 
allegiance to RKO, "was how to give 
voices to prehistoric beasts when we 
were just about certain their vocal 
chords were so undeveloped they were 
totally unable to make any sound at all. 
With the possible exception of a faint 
hiss or a plaintive 'psst!' On giving 
the matter some thought it seemed in- 
advisable allowing such gargantuan 
beasts to appear on the screen, fight- 
ing, lashing about and glaring at the 
audience with no auditory manifesta- 
tion of their wrath other than the afore- 
mentioned 'Pssst!' A trifle quaint, as 
it were. Besides that our present gen- 
eration of film fans would feel cheated. 
They know modern monsters roar. 
They expect them to roar. Hence the 
prehistoric monsters either thunder out 
blood-curdling roars, or else. Thus we 
were forced to modernize the Tryan- 
nosauri, Brontosauri and prehistoric 
lizards. A little matter," he continues 
lightly, "of bringing the Jurassic Age 
up to date." 

This being disposed of, Spivack was 
faced with the problem of giving a voice 
to Kiko, the Son of King Kong. Kiko 
is a mere chick of a gorilla, barely 
twenty feet tall, whose fur is the deli- 
cate, colorless fuzz of babyhood. And 
being a baby his voice must embody 
that squealing, whimpering note com- 
mon to the voices of all animal kids. 
Furthermore since Kong's voice was 
deeper than the deepest pipe-organ note, 
Kiko's voice must be proportionately 
deep and yet possess that tenor-like 
quality typical of infants. In other 
words* all s'pivack had to do was to give 
a tenor tinge to a deep, bass voice. Dif- 
ficult even in Hollywood. But Spivack, 
regrettably enough, proved worthy of 
his trust. 

With the glitter of true genius m 



92 



The New Movie Magazine, February, 193i 



Close-Ups 

his eye this dauntless fellow explains 
how "the creation of weird sound ef- 
or Kiko's voice was simplified by 
hi> ability to record sounds and voices 
upside down. "For example," says he, 
i nd track of a human 
voice and run it through the projection 
machine backwards and record the 
result. If I should say 'Bang!' and 
then run the recording backwards, the 
word would emerge as 'IgnaB', each let- 
ter also being backwards: 'G-e-e-e,' for 
example, emerging as 'e-e-e-j.' And by 
retarding the speed of the sound track 
able to re-record sounds of seem- 
ingly impossible depth. 

"Now for Kiko's voice: Occasionally 
I created his chatter simply by squeal- 
ing- and grunting into the mike myself, 
reversing and retarding the result. But 
for the most part his voice is composed 
of a human voice turned upside down 
and lowered in volume, the actual voice 
of a gorilla scientifically modified, and 
a few bird squeals. The combination," 
Spivack assures one happily, "gave me 
precisely the noise I sought." 

He then was faced with the fact that 
while, like his dad. Old King Kong, 
Kiko was a merry old soul, he also was 
handy with his dukes. And when he 
scrapped, he roared. "Naturally," 
Spivack explains, "Kiko's roar had to 
resemble Kong's and yet be proportion- 
ately infantile. It had to be a sound 
never before heard by human ear. So 
I took the roar of a tiger and the roar 
of an elephant reversed and recorded 
them together, with, I might add, grati- 
fying results." 

AND as though Spivack already 
i hadn't contributed his share to the 
modern bedlam of seven million years 
ago, he deliberately and with malice 
aforethought invented the battle hiss of 
the prehistoric lizard by gargling into 
a mike, recording it backwards and 
adding a few old-fashioned "razzber- 
ries" for good measure. The resulting 
effect is recorded at high speed until the 
hiss of our prehistoric pal attains an 
ungodly sort of shriek. And incident- 
ally when you hear the death scream 
of the Brontosaurus don't let your heart 
go swish, for it's simply Spivack's 
gargle again combined with a few 
"Shhhhh's" — the sort of noise one 
makes to babies. On the other hand the 
battle cry of the thirty-ton Trieeratops 
is derived from the trumpeting of an 
infuriated elephant turned hind-side-to 
and exaggerated in volume. 

Having read this much about the fel- 
low, you can imagine with what glee he 
created the terrific, soul-stirring, nerve- 
ripping racket attendant on the destruc- 
tion of Skull Island by earthquake! He 
hurled huge boulders down the side of 
a rock quarry and recorded their 
descent! He simulated the noise of a 
landslide by hiring a steam shovel to 
pour dirt down a steep incline! By mad- 
ly ingenious methods he reproduced 
thunder and lightning storms and the 
crashing of trees! And last but not 
least, with joy tingling in his ears he 
discovered that by simply wiggling a 
sheet of tin he could reproduce the 
deep, ominous, subterranean rumble of 
an earthquake . . . and so realistically 
that we Hollywoodians feel right at 
home ! 

Gentlemen — But I've already given 
you Spivack! 

(Please turn to page 94) 







"W 



hat would I do 



if he should catch a cold? 



93 



Her first-born — so tiny and help- 
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should catch a cold? 

Older and more experienced 
mothers answer her: 

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known or untried remedies. Use 
Vicks VapoRub — our family 
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Two generations of mothers have 
proved Vicks VapoRub best for 
children's colds. It avoids constant 
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the seat of trouble. 

Just rubbed on throat and chest 
at bedtime, \ apoRub acts like a 
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The New Movie Magazine, February, 1934 



93 



\y h b I A di§ covers 
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Close-Ups 

(Continued from page 48) 

He Wrote "The Last 
Roundup" 

"You haven't got anything I can use 
now. But you've got style. And any 
time you figure on quitting Hollywood 
and coming to Broadway, you can have 
a job with my firm. I'll even send you 
your fare to New York." The months 
elapsed. Eventually Bernstein heard 
from Hill. Bernstein immediately wired 
him seventy-five dollars. Hill bought 
a fifth-hand Ford for forty dollars, a 
marriage license for two dollars, said 
"I do" to Didette Lee, erstwhile film 
actress. And they started eastward for 
the big- town. The automobile lasted 
until they reached the Bronx where 
they presented it as a gift to a garage 
man, and took the subway downtown to 
the Shapiro-Bernstein offices. Billy 
went to work. He's a prolific writer — 
could turn out a song a day but doesn't 
because his employers want him to take 
his time and write only hits. They 
hail him as the Berlin of today; feel 
that his music — especially "The Last 
Roundup" — will last. This one, they 
believe, will become an American folk 
song in the manner of "Swan.ee River," 
"Yankee Doodle" and such. Maybe 
they're right, too! In the past three 
years, Hill has given the song world 
".Cuttin' Down the Old Pine Tree," 
"There's a Cabin in the Pines," "Have 
You Ever Been Lonely?" "Louisville 
Lady," "Old Man in the Mountain," 
"The Last Roundup," "There's a Home 
in Wyoming," and most recently Rudy 
Vallee's new signature song "When the 
Leaves Turn to Silver." He wrote "The 
Last Roundup" last January. From 
that time on, his life has changed com- 
pletely. 

He Acts While You Pose 

(Continued from page 48) 

she strikes that he hasn't time to do 
any of his own acting. 

His next favorite is Jean Harlow. 
And Robert Montgomery is "his pet male 
subject. 

When Mrs. Franklin D. Roosevelt 
was in Hollywood recently she came to 
him for a sitting. He was that proud 
to display her photograph in his window 
fo'r all Hollywood to see. It isn't every 
motion picture photographer who can 
shoot the first lady of the land and get 
away with it ! 

He says that a good picture, un- 
retouched, is as good as a screen test — 
even better, for it is more revealing, 
more cruel and scrutinizing than a 
series of pictures in motion. Bu1> he 
blushes to .confess how many need re- 
touching. 

He always plays music when he is 
working'. There's rhythm in his plates. 

Lens on Wings 

(Continued from page 49) 

Elmer spied a looming, rushing black 
shape. Zoom! His wheels rolled over 
the upper wing of a giant Fokker, 
circling the wrong way. 

Once as he was landing' a wheel 
crumpled. The plane rolled over and 
over in the dust. A wing folded and 
sliced across, whish! Elmer ducked in 
time to keep his head from being 
chopped off. 



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94 



The New Movie Magazine, February, 193b 



B 



Close-Ups 

Flying a DeHaviland home on "Air 

Circus" a crankshaft snapped. Clatter, 
ban?. The ship trembled, bucked, started 
to fall td pieces. Nosing half 
it settled fast. Elmer climbed out to 
jump. "We may make it," the pilot 
yelled. Elmer Bettled hack in hi 

They made it. 

Dick Grace once landed a plane ric'ht 
on him. He was standing on the ground, 
in a camera car. and looked up to see- 
the propeller whirling in his face. He 
bopped. The car, the plane, and three 
Bell-and-Howell cameras were de- 
molished. Elmer pot up. 

That's only a bit of his career. "But 

don"t weep too many tears for us when 

he shrugs. "It's our business." 

When his turn comes, all he asks 

er.ple to say is: "There goes Elmer. 

"e expected it." 

Star-Maker of Hollywood 

i ( 'oni :,,,i, ,i i , ,,,,, ,.,, if, 49) 

all the salaries that his discoveries are 
Collecting weekly in the film studios 
would give him a yearly income of at 
least a hundred thousand dollars. But 
Gilnior Brown has never collected a 
cent under such rights. His only com- 
pensation is the success of his finds. 

Out of Horror Into 
Happiness 

(Continued from im<J< -19) 

arrived — but his journey to America 
soon became a hegira of tragedy and 
hardship. They could not secure pass- 
ports from either Russia or Poland 
and, consequently, had to be smuggled 
into Germany. His mother, his sisters 
and he rode part of the way. hidden 
in a load of hay. They walked, then, 
and had to wade across icy streams. 

They reached America and thought 
their troubles ended — only to be turned 
hack at Ellis Island because George's 
younger sister was suffering from an 
affliction of the eyes! 

Heartbroken, they returned to Rus- 
sia, and waited there for two more 
years. Again they were smuggled into 
Germany, again they sailed for 
America— and again they were turned 
back at Ellis Island! 

George's mother died, a victim of 
their endless disappointments, soon 
after their second return to Lodz. 

A third time, their father sent pas- 
sage money, and a third time George 
and his sisters set sail for America. 
This time they were permitted to 1 land. 
They found that their father had re- 
married—and that their step-mother 
bitterly resented their presence. 

George stood her cruelties for nearly 
a year, and then ran away. For days 
he went without food as he searched 
for work. And then — bonanza! — a job. 
A bench in a New York sweat-shop and 
| princely salary of five dollars a week! 

Nearly three years of sweat-shop toil 
and then Fortune decided to smile. 
He was offered a job as a bell- 
boy in the Lambs' Club and only a few 
weeks after taking it, William Farnum. 
then at the peak of his fame, offered 
him a chance to play extra bits in the 
old Fort Lee Studios. 

Since then George has been an actor 
—a very great actor, as you will agree 
if you saw his superb characterization 
as Sol Levy in "Cimarron." 



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only advertising which would prove helpful 
and desirable to readers . . . advertising backed 
bv reputable manufacturers. 



Cflllilclp'llCP ^ ou can nave ' a ' rn i' 1 cnc advertising y 
^ J in this magazine. In the first year oi pi: 



ou see 

publica- 
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advertising was refused . . . for your protection. 

The products you read 'about in Tower Magazines are backed by their 
manufacturers . . . and Tower Magazines backs these manufacturers! 
You can buy with confidence from their advertisements. 



The New Movie Magazine, February, 19S4 



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New Films in the 
Making 

(Continued from page 17) 



STRANGE as it may seem, the mag- 
azine story, "Hi, Nellie!" by Roy 
Chansler is being shot almost word 
for word. Which may account for the 
last earthquake, after we thought we'd 
had our quota for the season? Any- 
how, it's a swell idea and we wish 
more of the studios would follow suit 
even at the price of an occasional 
shake-up. 

Paul Muni is a newspaper reporter 
in this one and, because he refuses 
to print anything he doesn't believe, 
the hard-boiled manager sticks him on 
the Lovelorn column until he sees the 
error of his ways. 

It's a tough assignment for a he- 
man. But, rather than give up his 
principles, Paul resigns himself to a 
fate worse than death, making such a 
howling success of the idea that the 
paper's blood pressure hits a new high. 

There's a murder and plenty of scan- 
dal mixed up in the story. If you read 
it, you'll know what I mean; and, if 
you didn't, there's a slick surprise in 
store for you. 

Glenda Farrell, sob sister on Muni's 
paper, is the love interest, and that 
gal would have made a crack news- 
paper woman in real life. She knows 
all the answers. 

THE bus cycle is on! Hold your 
hats and don't stand up ! 

What with fourteen studios throw- 
ing 'er into second and roaring across 
the country in all directions, it would 
seem that as many original plots would 
be out of the question. 

However, Ferdinand Reyher and 
Frank Wead have combined to make a 
really crack story in M-G-M's "Trans- 
continental Bus," just renamed "Free, 
White and Desperate." Among other 
things, they have immortalized the lad 
who struggled through a raging bliz- 
zard to get help for the half-frozen 
youngsters marooned in a stalled school 
bus. 

Robert Montgomery escapes from a 
penitentiary just in time to catch the 
westbound carry-all upon which Nat 
Pendelton and Madge Evans, his un- 
willing girl friend, are traveling to 
sunny Calif orn-i-a. (Chamber of Com- 
merce please note.) 

Complications arise when Pendelton 
gets on to the fact that Bob is a con- 
vict, but, by that time, good old Na- 
ture has made a detour and Madge 
discovers that, convict or not, the hand- 
some Montgomery is just what the 
doctor ordered. So — as Bob himself 
would put it — what? 

In desperation, the two of them bor- 
row the bus and, eluding their vindic- 
tive gangster friend, go away from 
there fast. A blizzard overtakes them 
and, what with stopping to play Good 
Samaritan to several icicle-bedecked 
pedestrians, the old reliable posse over- 
takes them and hauls Bob, willy nilly, 
back to face the firing squad — no, that's 
another story. 

Anyhow, he has to give up his bus- 
driver's license and climb into another 
suit of denim, while his new-found love 
seems destined to languish and fade 
until he can finish up the long time 
job of making little ones out of big 
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reports to the U. S. Dept. of Labor, Dept. Home Economics, Dept. 
of Agriculture, Congressional Library, Office of Education. 

RESULTS GUARANTEED K« Si^r^nfJ-IsM 

lll.CUI.IU UUrllinill "-*-« i dea3 . This book: "lOOO Spare 
Time Money Making Ideas" is guaranteed to rind a way for you to 
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John T. Rogers P. O. Box 137 Times Sq. Station N. Y. Cjty 



i >t a a 'j mm. 



WIRES OFF f lOOR 



fjffe j New Easy Way 



FITS BACK OF BASE80ARDOR MOULDING 



PUSH-CLIP 

10 Cents 

At Most Woolworth Stores 



Amazing invention ffnar- 
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damage to woodwork. No 
tools needed. Improve ap- 
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keep all wires off floors 
with JU5TRITE PUSH- 
CLIP. Economical. Set 
of eirjht colored clips to 
match your cords, 10c* 



A Fin e GRAY HAIR 

REMEDY NOW MADE 

AT Uf^MP You can now make 

*\ I nwrviE at home as good a 

gray hair remedy as you can buy, by 
following this simple recipe: To half 
pint of water add one ounce bay rum, a 
small box of Barbo Compound and 
one-fourth ounce of glycerine. Any 
druggist can put this up oryoucanmix 
it yourself at very little cost. Apply 
to the hair twice a week until the 
desired shade is obtained. 

Barbo imparts color to streaked, 
faded or gray hair, makes it soft and 
glossy and takes years off your looks. 
It will not color the scalp, is not sticky 
or greasy and does not rub off. 




NOW/ THE 

GIANT 

TUBE, 



m 



m 



vest 






ZIP EPILATOR- IT'S .OFF because IT'S OUT 
PERMANENTLY DESTROYS HAIR 



96 



The New Movie Magazine, February, 193b 






New Movies 
Forecast 

i ( . .:, . 

while Buddy De Sylva will make two 
with Lilian Harvey. Radio crooners 
may look forward to an inexhaustible 
supply of material from Hollywood; 
some good, some bad, some just plain 
lousy. But then that's why Victor 
• rt was born. 
Singers and radio artists are being 
contracted by all the major companies. 
Lanny Ross of radio fame is the new- 
est addition to the Paramount stock 
company. Metro-Goldwyn-Mayer are 
holding out high hopes for Nelson 
Eddy, good looking baritone, planning 
to co-star him with Jeanette Mac- 
Donald. Universal have Russ Columbo 
for "Love Life of a Crooner," sharing 
his services with 20th Century. RKO 
are negotiating a long term contract 
with John Charles Thomas, and 
Lawrence Tibbett is being approached 
with deals from all the studios. 

WALT DISNEY, who has made 
■"Mickey Mouse" famous all over 
the civilized world, has predicted that a 
great revolution is approaching in the 
production of motion pictures; a sensa- 
tional innovation that may eventually 
do away with many studios, stars and 
directors, making artists the master cre- 
ators of silversheet entertainment. The 
dramatic cartoon is coming! Animated 
drawings in color, that will thrill you 
and move you and bring you tears as 
in the past they have brought you 
laughter! Experiments with this new 
expression of dramatics is said to be 
secretly under way, and it is possible 
that 1934 will bear fructification. Is 
this the handwriting on the wall? 

The star system, doomed each year 
to oblivion, is no sooner buried than 
resurrected with press-agent trum- 
petry. As Shakespeare so wisely re- 
marked, much ado about nothing. 1933 
brought Mae West, Katharine Hep- 
burn, Leslie Howard, Bette Davis, 
Lilian Harvey, Spencer Tracy, Doro- 
thea Wieck, Cary Grant, Bing Crosby. 
Ruby Keeler, Dick Powell, Buster 
Crabbe and a few others to full fledged 
stardom. Some have already seen their 
names slip down below the title, and 
in 1934 others of this group might find 
out soon enough that stardom is much 
like the greased pig at the State Fair. 

In the coming twelve months star- 
dom is almost certain for Alice Brady, 
May Robson, Myrna Loy, Pert Kelton, 
Heather Angel, Diana Wynyard, Mar- 
garet Sullavan, Jean Parker, Gloria 
Stuart, Ann Dvorak, June Knight, 
Constance Cummings, Dorothy Jordan 
and the usual dark horses that spring 
1 ke magic out of the ether. 

THE three outstanding box office 
stars of 1934 will undoubtedly be 
Mae West, Katharine Hepburn and 
Greta Garbo. The buxom West who 
has appeared in but three pictures has 
shattered box office records everywhere 
during the past year; her picture. "She 
Done Him Wrong" being recalled for 
showings three and four times in the 
same theaters. In fact she has become 
so much the rage that every major 
company is on the lookout for a Mae 
West of its own. Pert Kelton will do 
her stuff on the Radio program of pic- 
tures while Blossom Seeley is going 
(Please turn to page 98) 



To Stop COLDS 
Quick 

Stop Them in the First or Dry Stage! 



A COLD is nothing to treat lightly. 
It i. .ay end in something serious. 
Learn the facts about colds and you 
have the first step to their mastery. 

A cold ordinarily passes through 
three stages. The first is the Dry 
stage, the first 24 hours. The second 
is the Watery stage, from 1 to 3 days. 
The third is the Mucous Secretion 
stage. 

A c >ld is twice as easily relieved 
in the first stage as in the second or 
third. The time to treat a cold there- 
fore is while it is yet a "Dry" cold. 

The 4 Effects Necessary 
When you feel a cold coming on, don't 
waste your time with half-way meas- 
ures hut take Grove's Laxative Bromo 
Quinine as quickly as you can. 



A Cold is 

an Internal 

Infection 

and Requires 



Grove's Laxative Bromo Quinine 
"knocks" a cold c]uickly because it is 
primarily a cold remedy and because 
it does the four things necessary. 

First, it opens the bowels, gcntlv, 
but effectively, the first step in expel- 
ling a cold. 

Second, it combats the cold germs 
in the system and reduces the fever 

Third, it relieves the headache and 
that grippy feeling. 

Fourth, it tones the entire system 
and helps fortify against further 
attack. 

This is the treatment a cold requires 
and anything less is taking chances. 

Grove's Laxative Bromo Quinine 
is utterly harmless and perfectly safe 
to take. It is, and has been for years, 
the leading cold and grippe tab- 
let of the world. That testifies 
to its safety as well as efficacy. 

Sou — 20% More for Your Money. 

Grove's Laxative Bromo Quinine comes 
in two sizes — 30c and 50c — and is sold 
by every drug store in America. Buy 
the 50c size as it gives you 20 c ' o more 
for your money. 

Always ask for it by the full name 
and look for the letters LBQ stamped 
on every tablet. Resent a uibstitutc as 
a:i actempt u "do" you. 




GROVE'S LAXATIVE 

BROMO QUININE 



The New Movie Magazine, February, 193 J, 



97 




Make yours a 
KISSABLE COMPLEXION 

End blackheads, pimples 

• Clear up your skin the way a doctor 
has proven you can do it quickly. Use 
Ambrosia, the liquid that cleanses pore- 
deep. Apply Ambrosia with cotton; you 
feel it tingle — you know it is cleansing as 
nothing has done before. 

Doctor's tests prove the daily use of 
Ambrosia ends blackheads, pimples, clos- 
es large pores, clears up sallow complex- 
ions. An old French recipe, first made in 
thiscountry only to private order, thispore- 
deep cleanser is really a 1-minute facial. 
Cleanses, tones, stimulates. Follow with 
AmbrosiaTightener 
for muddy, blem- 
ished complexions. 
You'll soon have the 
rose-petal skin that 
wins men's admira- 
tion. 

Ambrosia Cleanse 
Ambrosia Tightener 
lCc stores. Also in ' 
larger sizes at drug 
partment stores. 

AMBROSIA 

The Pore-Deep CI. 





GRAY 
HAIR 
GONE 



/test bottle\ 
V FREE ) 

Your hair takes on new 
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color comes: black, brown, auburn, blonde. 
Leaves hair soft, lustrous — easily curled or 
waved. Countless women use it. Men too, 
for gray streaks in hair or mustache. Get 
full-sized bottle from druggist on money- 
back guarantee. Or test it Free. 

Test it FREE~ We send Free complete Test 
Package.Try it on single lock snipped from hair.See 
results first. Just mail coupon. Give color of hair. 

I MARY T. GOLDMAN — 

911 Goldman Bldg., St. Paul, Minn. 



Name . 
Street . 



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J City 

I Color of your hair7 . 

i 



New Movie's 
Forecast 

(Continued from page 97) 

WEST for 20th Century. In the 
meantime Mae's new release, "I'm No 
Angel," is expected to gross several 
millions while her next, "It Ain't No 
Sin," should put Paramount back on 
Easy Street. The West popularity 
should build to its climax during the 
year, for by 1935 its novelty will have 
run its course. 

Miss Hepburn's fame rests on a more 
substantial basis. Although she sky- 
rocketed to success in a supporting role 
in her first picture, her third, "Morn- 
ing Glory," in which she is starred, is 
one of the smash hits of 1933. Already 
she is acclaimed Garbo's successor in 
the hearts of the American public, and 
little doubt remains that she will be- 
come the First Lady of Hollywood. In 
the new year many interesting parts 
are planned for her. "Little Women" 
successfully launched, she will next co- 
star with John Barrymore in "The 
Break of Hearts," and then will en- 
train for Broadway, where she will 
star for Jed Harris in a new play, 
"The Lake," returning to Hollywood 
to play "The Tudor Wench," in which 
she will portray the early life of 
Queen Elizabeth. After which she will 
probably star in Edith Wharton's novel 
of early New York, "The Age of Inno- 
cence." 

JUST when Hollywood was beginning 
to take Garbo's exile in Sweden 
seriously we predicted that before 
Summer was gone she would be back at 
Metro-Goldwyn-Mayer making love to 
a microphone. As we go to press her 
new picture, "Queen Christina," is be- 
ing readied for release, while her 
second picture under her new con- 
tract, "The Sacred Veil," from the mas- 
terly pen of Somerset Maugham., is 
being prepared for the cameras. 

What "Queen Christina" will do for 
Garbo no one knows yet. When a star 
is absent from the screen a year and 
a half her popularity is bound to suf- 
fer. Only Chaplin has been able to 
survive such folly, and even his stand- 
ing as a great star is in question at 
the moment. The first picture will 
gauge the Garbo popularity, while the 
second will determine her supremacy 
as one of "The Big Three" of the Holly- 
wood milky way. Most of the profes- 
sional picture people believe that the 
silent Swede has reached her zenith as 
a stellar attraction, but on the other 
hand the public is the deciding factor, 
and the Garbo fan mail is holding its 
own in public interest. Personally I 
believe that Garbo has not yet reached 
her height as a great actress. Perhaps 
she might have to share her throne 
with a Hepburn or a West, but she will 
continue to wear her crown so long as 
she chooses. Her art is as ageless as 
that of a Bernhardt or a Duse, and her 
influence of the acting standards of 
Hollywood is something that will al- 
ways remain. 

Interesting to note that Garbo, Hep- 
burn and Mae West were all originally 
rejected by motion picture producers 
as • being unsuitable types for the 
screen. Garbo was contracted by 
Metro-Goldwyn-Mayer because the late 
Mauritz Stiller would not come to Hol- 
lywood without her. West was tested 
■ by every major studio and found too 




Treat That 

COLD SORE 

QUICK EASY WAY! 

JUST touch cracked lips 
and that cold sore to- 
night with antiseptic, pene- 
trating Campho-Phenique. It 
starts to soothe pain and 
speed up healing instantly, 
and restore your lips their 
natural smoothness and ripe 
beauty. Protects against in- 
fection, too, not only on cold 
sores but on minor cuts, burns 
and similar hurts. Get a bottle of Campho-Phenique 
at any drug store — 30c or 60c — or a trial size, 10c, 
at any ten-cent store. 

CAMPHO-PHENIQUE 

7 p cnAL fc M ^QTMENT^ 

Reliable women needed at once to 
demonstrate exquisite new Spring frocks. 
Georgeous Paris styles, amazing low prices. 
New plan gives women who have no ex- 
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work, full or part time. Send no money, but 
write fully for elaborate style presentation. 
Also learn how to get your own dresses with- 
out cost. Give size and color preference. 



Brand New™?m® 




frilly guaranteed 

. Send 

10 Day Trial — then 10c a Day 



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Hereisthe SECRET 

says 



Jiatd/OUti 




m 

Mary Brian in Columbia's "Fog. 

MOON GLOW 

NAIL POLISH 
{Beautifies tyour ZKands 

YOU will be delighted with che smartness of your hands 
when you beautify them with MOON GLOW Nail Polish. 
Keep on your shelf all of the 6ve MOON GLOW shades- 
Natural, Medium, Rose, Platinum Pearl and Carmine. 

If you paid $i you couldn't get finer nail polish than 
MOON GLOW— the new Hollywood favorite. Ask your 
ioc store for the ioc size or your drug store for the 2.5c size 
of MOON GLOW Nail Polish in all shades. If they canooc 
supply you, fill in the coupon below and mail today. 

Moon Glow Cosmetic Co.jLtd.jHoIlywoodjCalif. 

Gentlemen: Please send me introductory pkg. of Moon 

Glow. I eoclose ioc (coin or stamps) for each shade 

checked. ( ) Natural ( ) Medium ( ) Rose ( ) Platinum 

Pearl ( ) Carmine. 

Name. 

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City Stare T.G.-Ai 



98 



The Neiv Movie Magazine, February, 1934 



New Movie's 
Forecast 



tu play leads, while Hepburn 
upun the completion of her fii 

.wed to leave the film city with- 
out having her option renewed. Oh 
well did you see "Once in a Life- 
time?" 

In yesteryears Hollywood's 
screen idols were male stars; the hand- 
some Wally Reid; the dark, fascinating 
Valentino; the debonair, dashing John 
Gilbert. For two years the screen has 
not had one great male star who by 
charm of his name alone could draw 
the crowds to the thea id pie- 

ir in bad ones. Perhaps Mickey 
Mouse is the exception. Nils Asther, 
Clark Gable and George Raft, each in 
turn gave promise of becoming great 
stars that would stand the acid test of 
time, but in turn each slipped and re- 
ceded back into the class of leading 
men. Now Francis Lederer looms upon 
ihi- deserted horizon with a reputation 
already earned on three continents as 
a great stage lover whom the ladies 
simply flock to see. He is expected by 
KK'i to repeat his tremendous stage 
success in the films. If he does he will 
be the outstanding male star of 1934. 
Otherwise Hollywood will have no male 
Counterpart of Garbo, Hepburn and 
West to offer a female public long 
hungry for a new great lover. It is 
this writer's opinion that Lederer is 
not the Hollywood man of Destiny. He 
is yet to appear out of the intangible 
mystery of the great nowhere. 

MANY new leading men are on the 
verge of Hollywood prominence. 
The dearth of suitable Romeos has held 
up many a production during 1933, and 
this year the producers are going to 
make every effort to uncover new 
finds. Roger Pryor, who got his first 
break in "Moonlight and Pretzels," has 
been signed by Universal. Warner 
Brothers are boosting Donald Wood, 
having given him and lead opposite 
Kay Francis in her next picture, 
"Mandalay." D&rry] Zanuck has signed 
Chick Chandler. Douglass Montgomery 
is being given some splendid oppor- 
tunities. Here is one actor who is 
worthy of stardom. Harold Lally and 
Victor Jory are getting the breaks on 
the Fox lot, and at RKO William Cag- 
ni-y, brother of Jimmy is going to have 
his chance to prove that big brother 
didn't inherit all the family talent. 
This same studio is holding out high 
hopes for Bruce Cabot. Metro-Gold- 
wyn-Mayer have pinned their faith on 
Franchot Tone and .Max Baer, chal- 
lenger of Camera, who is said to be 
a sensation as a lover in his fust pic- 
ture, "The Prizefighter and the Lady." 

Bing Crosby. Leslie Howard, Spencer 
Tracy. Paul Muni, Edward G. Robin- 
sin, Fredric March, Maurice Cheva- 
lier, Gary Cooper, John Barrymore and 
Wallace Beery are the chief contenders 
for first place among the present t, r roup 
of male stars. Note that at least six 
of these men are in their forties, and 
most lay no claim to beauty. 

Crosby's popularity is rising by 
gaps and bounds. Paramount is star- 
ring the beloved crooner, who has 
proved himself an amusing actor as 
well. If he can learn to wear clothes 
with the same class that he delivers a 
song he might insure his popularity 
beyond the present musical vogue. 




HOW THE WRONG SHADE OF 
FACE POWDER CAN MAKE 
YOU LOOK YEARS OLDER 



, 



Pavlova's Experience 

ANNA PAVLOVA, the great dancer, was 
giving two concerts in a distant city. 
The first night she looked gloriously young 
and vibrant. But the second night she was 
another woman altogether— she looked old 
and haggard. Something terrible had hap- 
pened to cause the transformation. What 
was it? 

Just this: By mistake the wrong colored 
spotlight was thrown on her. And the effect 
v. .is ihat she appeared twenty years older. 
The audience whispered —"My, how old 
Pavlova looks." The right light was im- 
mediately switched on. But the damage was 
done! No one in the audience could be con- 
vinced that Pavlova hadn't grown old. 

Your Face Powder Shade- 
Aging or Youthifying? 

What holds for lighting holds for face pow- 
der shades, too. The wrong shade can make 
you look live to ten years older. Many women, 

choosing their face powder shade on Hi 
basis, are victims of a decidedly aginj 
Could it be possible that you, too, are paying 
the penalty of the wrong shade of tace pow- 
der? Look at the above illustration. It gives 
you some idea of the difference the right and 
wrong shade of face powder makes. 



One Way to Tell 

There is one way to tell which is the right 
shade of face powder for you — which shade 
makes you look young rather than old — and 
that is to try all the live basic shades. As 
Lady Esther has demonstrated and, as color 
specialists confirm, there are five basic shades 
which supply the needs of all types of women. 
One of these will prove the most flattering 
and— youthifying— Gil you. And Lady Esther 
offers you the opportunity of finding out di.it 
shade at her expense. 

At Lady Esther's Expense! 

Simply mail your name and address and you 
will receive a liberal supply of all five shades 
of Lady Esther Face Powder. Try them all on 
your face before your mirror and instantly 
one of these shades will prove the one for 
you. Mad coupon now for all five shades of 
Lady Esther Face Powder. 

F* 

, LADY ESTHER. 2C20 Ridge Ave, 

n. 111. 

I I want to find the ripht shade of face powder 
■ for my type. Please send liberal supply of all 5 
1 shades of Lady Esther Face Powder free and 
I postpaid. 

I Name 



Can Paste This on Penny Postcard) 



EElD 



City 



State 
n Can j J j. 



o> 



The Neir Movie Magazine. February, 19JJ, 



99 




DlauSe aou dmit 

Maybe you don't li\e your face ... still ... a girl can 
go through life without a single decent feature . . . 
and if she has a lovely skin (and a way about her) men 
will vow to the very end that she is a raving beauty. 
If you've seen girls with complexions like a 
pink tea rose . . . they're probably using the 
right powder. And probably that's Luxor. For 
Luxor has one supreme advantage. It's moisture- 
proof. You won't have a shiny nose with Luxor, 
for moisture from the skin is not absorbed by 
it. Luxor is 55 cents. If you'd like a sample, 
send 10 cents and the coupon. 
Hear "Talkie Picture Time" — 
drama, love, adventure on the movie' 
lot. KBC, Sunday, 5:30 E. S. T. 
See local papers. 





THE MOISTURE-PROOF 
COMPLEXION POWDER 

LUXOR, Ltd., 13;; W. 31st St., Chicago, 111. 

Please send me your generous trial packages of Luxor 
Moisture-proof Powder, Rouge and new Special Formula 
Cream, Enclosed is ten cents to help cover mailing costs. 

Check, Pouter: Rose Rachel Rachel Flesh 

Rouge Radiant Medium Sunglow _ 

TM-2 Pastel Vivid Roseblush 

Name . . 

Address 



Burpee'sGiant Zinnias 
SPktsforlOt 

Three beautiful Giant Mammoth Zinnins. 
one full-size packet each of Scarlet. Yellow, 
ami Rose (regular value 30c) postnaid for 
only 10c. Don't miss this remarkable "get- 
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Burpee's Garden Book FREE. World's greatest garden guide 
describing all hest flowers and vegetables. Burpee's guar- 
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W. ATLEE BURPEE CO., 224 Burpee Bldg., Philadelphia 





Have You 
seen the N EW 
HESS Package^ 

! Yes.thesamegoodHessWitch 

Hazel Cream that softens, 

I soothes and whitens skin as 

nothing else will, now comes in a 

ill beautiful new blue and white package. Sold 
%-/ in Drug, Department and 10c. Stores. 

Don't Let Chapped Skin 
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Instead use Hess Witch Hazel 
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penetrates both the first and sec- 
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causes of chap and roughness: 
Never leaves oily, sticky film on 
skin.Sam pie sent onrequest. Sold 
in ioc, 25c and 50c sizes. 

E. E. HESS COMPANY 
S3 Main Street Brook, Ind. 



fit)) J^t^ < fAi^erCt£aw 




Mae West's 
Perfect Day 

(Continued from page 68) 

puts it: "We've all got some pet aver- 
sions. Now, I hate night clubs. Haven't 
been in one since I've been on the 
Coast. As far as I'm concerned the 
Cocoanut Grove and the Colony Club 
are just names in gossip columns." The 
cnoi-mous auditorium is jammed to the 
rafters. The band blares a brassy 
"The Sidewalks of New York." "They 
couldn't mean me. That's Al Smith's 
theme song!" Movie stars packed in 
like sardines rub shoulders with 
gamblers, gunmen and gentlemen. The 
Marx Brothers are there. So are Lupe 
and Johnny Weissmuller. Lupe, like 
Mae, loves the fights. But there's a 
difference in their appreciation. Lupe 
screams, hollers, whoops it up for her 
favorite boy. There's not a sound or a 
move from Mae. She's not an amateur 
devotee. Only her eyes move as she 
watches the men in the ring. This is 
the game she was brought up in. This 
is her dad's racket. 

11 P. M. The apartment again. The 
devoted Libby has not retired. You 
know that from the aroma of fresh- 
made coffee escaping from the kitchen. 
"Tired?" asks Libby, which is just her 
habitual way of greeting Miss Mae. It 
never really calls for an answer. "I've 
got a nice hot bath drawn for you, and 
when you're ready I'll serve some coffee 
while you lie down here on the divan." 
It's very nice, and restful and peace- 
ful having a Libby in your life! You 
don't even have to reach for your "white 
velvet robe, or your mules. They are 
always right there in the willing Lib- 
by's hand, as you step from your bath. 
It's Libby's hands that put pillows be- 
hind your back and move the reading 
lamp up closer to the couch where you 
are lying. The drapes are pulled back 
from the bav window revealing the red 
and white lights of the valley below. 
The coffee is hot and fresh and the 
radio plays softly. "I'm going to rest 
here an hour," says Mae, "and then I'm 
going to work. You go to bed, Libby." 
That always begins it. "Now Miss Mae 
I wouldn't work tonight after you've 
been out all day. If I was you I'd get 
a good night's sleep!" "Okay," says 
Mae because its the easiest way. "But 
bring me that script of "It Ain't No 
Sin" before you leave." Libby sighs — 
departs. 

12 P. M. The radio is silent. The 
drapes have been drawn against the 
distractingly beautiful view of the 
Hollywood valley. Only one concen- 
trated light remains burning, reveal- 
ing America's Hottest Box Office At- 
traction engaged in her typical "night 
life." The pencil pushes on and on as 
page after page of "Mae West stuff" 
slips carelessly onto the floor. 



A HOME FACIAL 

If you haven't the time to spare for 
a weekly professional facial treatment, 
don't forego the rejuvenating ana 1 re- 
vitalizing effect that one gives your 
skin. Send for our circular, "Manipu- 
lating the Fingers in a Facial." Write 
to Ann Boyd, in care of The New 
Movie Magazine, 55 Fifth Avenue, 
New York, N. Y. 





..Cosmetics «£ 




YOU cannot realize how much better you 
will feel and look until you try Dr.Edwards 
Olive Tablets. For instead of rouge and 
powder, many women need internal cleansing 
to remove the cause of blemishes, pimples, 
headaches, and that dull lifeless feeling. 

The Internal Cosmetic 

That is why countless grateful people today 
think of Dr. Edwards Olive Tablets as the 
"internal cosmetic." A safe, efficient substitute 
for calomel, much easier to take — they gently 
regulate the liver and intestines and nature 
clears the way for a lovely skin and the allur- 
ing glow of youth. 

Take these wonderful tablets every day, if 
you want to banish the "looks" and feeling 
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pounded of vegetable ingredients, used by mil- 
lions for 20 years, you'll know them by their 
olive color. At all drug stores, 15^, 30$!, 60£. 




Relieves 

Teething 

Pains 



WITHIN 1 MINUTE 



WHEN your baby suffers from teeth* 
ing pains, just rub a few drops of 
Dr. Hand'sTeething Lotion on thesore, 
tender, little gums and the pain will 
be relieved within one minute. 

Dr. Hand's Teething Lotion is the 
prescription of a famous baby spe- 
cialist, contains no narcotics and has 
been used by mothers for almost fifty 
years. It is strongly recommended by 
doctors and nurses instead of the un- 
sanitary teething ring. 

JUST RUB IT ON THE GUMS 



DRHAND'S 

Teething Lotion 



Buy Dr.Hand's from your druggist today 



100 



The New Movie Magazine, February. 1934 






New Pictures You 
Should See 

[Continued from poff* 68) 

Archainbaud and a tragic story that 
he didn't quite dare shoot. 

Carl" (Mi-< Bennett) and Ritter 
fall in love and Ritter discovers that 
the girl is betraying his country. The 
backgrounds, the softly significant act- 
ing of Miss Bennett and Mr. Roland's 
stalwart portrayal of the officer, cruci- 
fied between love and duty, make this 
a picture that would be more worth 
seeing if you didn't have to watch the 
sugar-coating of the final sequence. 

High Spots: Tin muted love scenes 
■in and Ritter, played in a 
slow, almost sleepy tempo . . . The pie- 
turized course of the spy's messages, 
passed from hand In hand of otherwise 
persons . . . Surgeons operat- 
ing during an air raid. 

Sore Spot: The artificial and im- 
plausible ending. 

My Lips Betray — C 

• Directed by John Bystone. Released by Fox 

THE plot of this film is laid in the 
mythical kingdom of Ruritania, 
which would have been a very good 
place to leave it lying. It's about — all 
over again — a king who falls in love 
with a dancer. 

No one, evidently, seemed to know 
whether this was to be a musical 
comedy, a drama or a Mack Sennett 
farce. Features from each have been 
combined in a not too happy compro- 
mise. The settings are good; the 
photography, fair. The direction and 
acting are something less than either. 

Lilian Harvey presumably trained 
for the part of the dancer, Lili, in St. 
Vitus's School for Ingenues. Charm 
and the jitters are not synonymous. 
John Boles is effective, only when 
singing. Miss Harvey isn't, even then. 

There is also a royal motorcar, ap- 
parently designed by the ingenious Joe 
Cook and a lot of situations — before 
oil is discovered in Ruritania and the 
dancer and the king are plighted — with 
which even Mr. Cook could do little. 

The Kennel Murder Case — A 

Directod by Michael Curtiz. Released by 
Warner Brothers 

THE poorest of S. S. Van nine's de- 
tective stories has been made into 
the most effective cinema to be taken, 
thus far from his books. This is a uni- 
formly well done and convincing de- 
tective story. 

William Powell brings life and grace 
to that literary effigy, Philo Vance. 
Those who have longed to pull a rug 
from under Philo, as Mr. Van Dine 
writes of him, or put a pie in his chair, 
will be pacified by the easy fashion in 
which his ingratiating film CCUnttrparl 
solves the murders in the Coe home- 
stead. 

"The Kennel Murder Case" is just 
about all a mystery play should be. 
There are no ghostly faces at the pane; 
no spectral hands that reach out for a 
horribly screeching lady, but there is 
in this film a deal of intelligence, which 
is rarer and better. Mr. Powell's act- 
ing and the direction of Michael Curtiz 
are honest and fine and the rest of the 
cast aid them materially. 

(Please turn to jiage 102) 






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The New Movie Magazine, February, 193 % 



101 



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New Pictures You 
Should See 

(Continued from page 101) 

Eug'ene Palette, creator of many ro- 
bust minor characters, is at his best 
as the blundering' Sergeant Heath. 
Hobart Barratt as Archer Coe, Ralph 
Morgan as his secretary, Mary Astor 
as Hilda Lake and Robert McWade as 
District Attorney Martin give per- 
formances that have a refreshing real- 
ity. The veteran Etienne Girardot, 
whose stage experience goes back to 
the original title role in "Charley's 
Aunt," fills the small part of Dr. 
Doremus, medical examiner, with vin- 
egary humor. 

"The Kennel Murder Case" may not 
lift you from your seat, but it will keep 
you wide awake and interested therein. 

High Spots-: Dr. Doremus, thwarted 
in his effort to get a quiet meal by re- 
peated murders . . . The voice of Vance, 
solving the mystery, travelogue fashion, 
to silent picture accompaniment. 

The Prizefighter and the Lady — A 

Directed by W. S. Van Dyke: Produced by 
Metro-Goldwyn-Mayer 

THIS picture of life in the semi- 
underworld of pugilism doesn't 
merit all the hoorah that has intro- 
duced it, but it is, all the same, a fine, 
hard-boiled, fast moving film. Contrary 
to published reports, Max Baer, the 
boxer, is not a combination of John 
Barrymore, Henry Irving and David 
Garrick. He is just a prizefighter who 
can act better than most actors could 
fight. 

Baer has an ingratiating grin", 
punch-bhmted good looks, personality 
and the ability to talk naturally on a 
set. This sets him, a,s a Thespjan, far 
above Jim Jeffries, Jess Willard, Jack 
Dempsey or Primo Camera, all of 
whom appear in this picture, but still 
leaves him below nine-tenths of Hol- 
lywood's professional actors, if you in- 
sist on measuring his performance by 
the standards of their calling. 

"The Prizefighter and the Lady," 
however, is something more than just 
a film built up to suppor.t a short ton 
of heavyweights. It is a swift enter- 
tainment that doesn't pull its punches. 
Its cast talk the language of the rough- 
neck as though it were their native 
tongue. The picture has, furthermore, 
a .reasonably plausible plot and about 
as exciting a series of fights as you are 
likely to see in celluloid or at ringside. 

Over and beyond Baer's good per- 
formance, the film has other claims 
upon your attention. The truth about 
Max is that he is just good enough not 
to clog the stoxy that rolls along at a 
high rate of speed in the more deft and 
powerful hands of Walter Huston as 
a manager of fighters, Otto Kruger as 
a big shot racketeer and Myrna Loy as 
a night-club singer who ditches her big- 
shot protector to marry the pugilist, 
Steve Morgan (Baer). 

When Baer's performance is forgot- 
ten, "The Prizefighter and the Lady" 
should be remembered as the film which 
first afforded Miss Loy a satisfactory 
role. She had been in pictures for a 
long time and has suffered under an 
apparently unbreakable curse of un- 
sympathetic parts. Now, her interpre- 
tation of the devoted and eventually 
neglected wife of the philandering 
Steve marks, or should mark, her step 



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102 



The New Movie Magazine, February, 193 U 






New Pictures You 
Should See 



iss the threshold of stardom. If 
.tii ■ runs away with "The Prize- 
fighter and the Lady," it's the lady, nut 
tin- prizefighter. 

Miss Loy was born in Helena, .Mon- 
tana, daughter of a ranchman. She 
studied art and it was her work as a 
sculptress that brought her to the no- 
tice of Mr. and Mrs. Rudolph Valen- 
tino by whom she was persuaded to 
take up a film career. She has been 
appearing in pictures since 1 

High Spots: Steve Morgan subduing 
,i bar room fight . . . Avid faces »i thi 
and" through the ring . 

. . . Morgan's hangi rs-ou, admiring 
his first i . ning clothes . . B 
Mercer's (Miss Log) gradual change oj 
ression from rindictiveness to pity 
us Camera batters her husband about 
ing. 
Sun Spot: Steve Morgan afU 
rly killed by Camera, rallying and 
it draw because his estranged 
Urifi a ml managi r ch i • 

The Sweetheart of Sigma Chi — C 

Directed by Edwin L. Martin. Released 
by Monogram 

ANOTHER film of life among col 
■ lege students who apparently take 
courses only in necking, sinpinjr, neck- 
ing, dancing, rowing and necking. 
Mary Carlisle is the kittenish Vivian 
and the sweetheart of Sigma Chi which 
has at this institution a large chapter, 
with nary an actor among its member- 
ship. There isn't much plot but what 
there is leads up to a boat race which 
— believe it or not — the crippled crew 
of Alma Mater wins. 

Buster Crabbe as Bob North, the 
hero, seems animated entirely by clock- 
work. He strokes a beaten eight oared 
shell to victory when the coxswain 
confides that his girl is waiting for 
him on the boathouse dock. 

The Way to Love — B 

Directed by Norman Taurog. Released 
by Paramount 

MAURICE CHEVALIER has had 
better films. He has had, as a 
matter of fact, most of his current of- 
fering at least once before. His charm 
and skill aren't enough to make this a 
completely successful picture. Since 
he can't, it's doubtful if anyone could. 

It is almost time that the cinema look 
the mold into which it has poured Mr. 
Chevalier again and again, laid it ten- 
derly on the dumpheap and left it 
there. "The Way to Love" is mostly 
a repetition of "Love Me Tonight" and 
its forerunners. There are, of course, 
some variations. 

Francois (Mr. Chevalier) is a sand- 
wich man instead of a tailor. He 
rescues a dog. this time, instead of a 
stag; in "Love Me Tonight," his whim- 
sicality won the heart of a princess. 
In his current offering, that same 
quality gains the hand of Madeleine 
(Ann Dvorak), assistant to a gipsy 
knife thrower. 

What Mr. Chevalier needs most is a 
new story. He has everything else. 
Watch the face of Francois when he 
learns that he has attained bis ambi- 
tion and has won the job of guide with 
(Please turn to page 104) 




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The New Movie Magazine, February, 1984 



103 



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New Pictures You 
Should See 

(Continued from page 103) 

a tourist agency. That is the sort of 
thing Mr. Chevalier can do when he 
has the chance. 

Edward Everett Horton, who plays 
Dr. Bibi, consultant in love affairs, is 
at times even funnier than the star he 
supports. Mr. Horton is moving up 
quietly, picture by picture, toward the 
heights of comedy. Miss Dvorak, the 
knife-thrower's target, has only re- 
cently come back to the films. She re- 
volted in July 1932, against the con- 
tinued insult of a mere S2-50 per week 
salary and ran away to Europe with 
her husband, Leslie Fenton. Nothing 
she does in this film indicates that she 
was underpaid. 

High Spots: Bibi and Francois play- 
ing checkers with glasses of liqueurs 
and drinking ea-ch piece that is jumped 
. . . Bibi and Francois, embarking with 
a providentially supplied pair if scis- 
sors on an alcoholic necktie-cutting con- 
test. 

The World Changes — B 

Directed by Mervyn LeRoy. Released by 
First Nationcl 

THIS story of the rise and fall of a 
pioneer family might have been an- 
other "Cimarron" if the direction had 
been less careless. "The World 
Changes" attempts to picture seventy- 
three years of the nation's and the 
Nordholm clan's existence in little more 
than an hour's time. There is excuse 
for the jumpiness of the film. There is 
none for the inaccuracy of its back- 
ground. 

The picture begins with historical 
error. The first shot, so the subtitle 
announces, is laid in "Dakota Territory 
— 1856." There was no Dakota in 
1856. There was no such territory es- 
tablished until five years later. There 
are many other such blunders. 

Paul Muni plays Orin Nordholm, a 
frontier boy, whose life is ruined by 
the wealth he gains as a packing mag- 
nate. His characterization is forceful 
and distinguished by adroit make-up. 
Aline MacMahon as Anna, the pioneer 
mother, is equally impressive. Grad- 
uate of Barnard College in 1924, vet- 
eran of the stage in a long series of 
minor parts, Miss MacMahon (Mrs. 
Clarence S. Stein in private life) is 
moved by her current role nearer to 
the forefront of filmdom's character 
actresses. 

As a drama, "The World Changes" 
is interesting. As a national epic you 
won't enjoy it unless you are wholly 
ignorant of your country's past. And 
after you've seen it, you'll still be 
ignorant. 

High Spots: Orin Nordholm's cattle 
drive up from Texas. . . . The fine 
enwtional performance of Mary Astor 
as Nordholm's spoiled wife. . . . Anna 
Nordholm at ninety surveying the 
grandchildren she never has seen be- 
fore. 

Sore Spots: Too numerous to citein 
full. Whitefaced Hereford cattle pre- 
sented as Texas longhorns. . . 
Nordholm's stockyard in 1893, with 
Twentieth Century locomotives moving 
before it. . . . Folk on Wall Street's 
1929 day of panic entering a 1932 
limousine. 



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104 



The New Movie Magazine, February, 193U 



New Pictures You 
Should See 

Christopher Bean — A 

Directed by Sam Wood. Releoied by 
Metro-Goldwyn-Mayer 

Ai.'iOD picture might have been one 
of the year's best if Hollywood 

could have forgotten that Marie Dres- 
sier is adept at rowdy buffoonery. This 
f a hired girl's love for a ne'er- 
do-well painter who is found, after his 
death, to have been a great artist was 
a comedy underlaid with pathos in its 
original stage version. Its tone has 
lowered by transfer to film. 

With Miss Dressier as Abby, the 
maid of all work; Lionel Barrymore 
a> Dr. Haggett, her fusty New Eng- 
land employer; Jean Hersholt as 
I, an art dealer and H. B. Warner 
as a critic, it would have been hard to 
make "Christopher Bean" a failure. 
It is far from that, but it is not the 
splendid and touching film it might 
have been. 

Miss Dressier may very well regret 
that she ever played in "Mill and Bill." 
She is doomed, it seems, to do some ver- 
sion # of Min all her days. This is not 
onb,-" stupidity but tragedy, for Marie 
Dressier happens to be, besides a good 
slapstick comedian, a truly fine artist. 
The pathos and tenderness of which 
she is capable flash now and then 
through "Christopher Bean." Miss 
ler knows how to act. It is too 
bad more directors aren't equally skilled 
in their craft. 

Secondary honors, and not so secon- 
dary at that, go to Lionel Barrymore 
for his depiction of the shabby New 
England physician whose spirit is 
blown about by the winds of greed 
when he learns that Christopher Bean 
paintings, which have been lying neg- 
lected in the doctor's house, are worth 
thousands. Beulah Bondi, in a minor 
role, does a convincing film portrait. 

There is a deal of good acting and 
much fine comedy and tenderness in 
this film, but it is marred, nevertheless, 
by the heavy hand of burlesque. The 
picture ends with Abby pouring the 
contents of a hot water bottle on a man 
with Keystone Comedy whiskers in the 
sleeping car berth below hers. Such a 
conclusion is as sour and insulting to a 
fine story, fine actors and the intelli- 
gence of audiences as a Bronx cheer. 

High Spots: Dr. Haggett trying to 
wheedle a portrait by Bean from Abby 
without letting her know its value. 
. . . Abby, tearfully defiant, confess- 
ing her love for the dead artist. 

The Right to Romance — B 

Directed by Al Santell. Released by RKO 

STORY trouble and bad direction or 
cutting are all that ail this film. 
That's enough. A thoroughly able cast, 
headed by Ann Harding, plus superb 
photography, plus almost perfect back- 
grounds, can't overcome a maimed 
plot and make this picture more than 
fair. 

The plot is the rubber stamp con- 
cerning the serious-minded woman who, 
seeking romance, marries a playboy 
and, later, surrenders him to a 
younger, gayer rival. Even that might 
have been good when handled by Miss 
Harding, Robert Young, Nils Asther 
(Please turn to page 106) 



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you'll want lo give copies to your 
friends. Send 10 cents for each 
copj J on want to 



Mary Marshall 

TOWER MAGAZINES • INC 



FIFTY-KIYK FIFTH \\ KM F 



NEW YORK, N. Y. 



The Neiv Movie Magazine, February, 1934 



105 



New Pictures You Should See 



and Sari Maritza if the film had been 
better balanced. So much footage is 
spent upon the introduction that when 
Dr. Margaret Simmons (Miss Hard- 
ing) a brilliant plastic surgeon sees 
her husband (Mr. Young) kiss his life- 
long' chum (Miss Maritza) there is no 
space left for the drama that should 
ensue. Without any hesitation or real 
justification, Dr. Simmons leaves her 
home for her heretofore unrequited 
lover, Dr. Hepburn (Mr. Asther) and 
there the film leaves you with the feel- 
ing that you've worked for an hour 
toward a climax that is botched by 
haste. 

Miss Harding's classic loveliness and 
her cool, fluent art do their best to 
save the film. Mr. Young, a Hollywood 
newcomer who is working his way 
rapidly into the first flight of juveniles, 
does excellent work and Mr. Asther 
brings pathos to the role of the scien- 
tist lover. 

High Spots : Wrinkles disappearing 
from an elderly patient's visage as Dr. 
Simmons performs a face lifting opera- 
tion. . . . The desolate figure of Dr. 
Hepburn, sitting alone in his laboratory 
when Dr. Simmons rushes off to be 
married. 

Blonde Bombshell — A 

Directed by Victor Fleming. Released by 
M etro-Go Id wyn- Mayer 

THE movies are outgrowing the 
violent self-admiration which is 
peculiar to children. They are begin- 
ning to appreciate that even the film in- 
dustry has its funny spots. This 
picture, which deals with explosive 
passages in the life of a pampered star, 
Lola (Jean Harlow) is a hilarious and 
favorable symptom. 

Brickbats of ridicule and arrows of 
satire, launched by this film, may 
bruise and sting a number of Miss Har- 
low's fair co-workers. "Blonde Bomb- 
shell" reveals with much mirth the 
racket of building up a Peoria livery 
stable keeper's daughter into a film per- 
sonage who, actually, she isn't at all. 

The lovely Lola has a fly-like mind 
that lights eagerly upon whatever of 
interest comes to hand, whether it be a 
fan-tailed goldfish, a disreputable mar- 



(Continued from page 105) 

quis or the idea of child adoption. 
Thanks to "Space" Hanlon (Lee Tracy) 
press agent for Monarch Films, she be- 
comes one of the most notorious of 
Hollywood's residents. 

Miss Harlow is better as a siren than 
a satirist. She is nevertheless an ac- 
ceptable comedienne. Her performance 
in "Blonde Bombshell" may not be es- 
pecially memorable but most cinema 
addicts will recollect that, during the 
shooting of the film, she married her 
cameraman. 

In this rowdy caricature of happen- 
ings in filmdom, Mr. Tracy wins new 
honors. Garrulous, plausible and for- 
ever in trouble, it is he who is largely 
responsible for the laughter with which 
"Blonde Bombshell" is loaded. 

High Spots: Lola trying to convince 
trustees of an orphanage that she 
would be fit guardian for an infant. 
. . . Space Hanlon pacifying a tem- 
peramental studio riot by glib and 
wholesale lying. 

Hoopla — A 

Directed by Frank Lloyd. Released by Fox 

YOU won't find any great heights of 
acting in this film of carnival life. 
You won't find any specially sour per- 
formances either. "Hoopla" may not 
be anything to go out through the rain 
to see but it has a warm, human story 
and competent direction and, if you feel 
that way about her, Clara Bow as its 
star. 

Your correspondent is one of the be- 
nighted who never has been unduly 
moved by Miss Bow's art but as Lou, 
the hootch dancer with a heart of gold, 
she is considerably better in "Hoopla" 
than sometimes. There is one minute, 
when the boy Chris (Richard Crom- 
well) whom she has tried to seduce, 
confesses his love for her, that Miss 
Bow rises into fine and genuine emo- 
tional acting. No one else in the film 
gets quite that far. 

The story, which is taken from the 
stage play "The Barker" in which, by 
,the way, Walter Huston appeared 
years ago, concerns itself with the 
effort of Nifty (Preston Foster) to 
keep his son straight in a carnival 
show and the father's wrath when the 






boy marries Lou. The carnival scenes 
have atmosphere, movement and humor 
and there is a convincing "hey rube" 
battle to enliven things a bit. 
High Spots: Hap (Herbert Mundin) 
a carnival employe riding the rim of 
the merry-go-round during the battle 
and clubbing each hostile head he 
passes. . . . Nifty reunited ivith his 
daughter-in-law and son because he 
cannot endure the ineptitude of the 
barker who has replaced him. 

Duck Soup — AA 

Directed by Leo McCarey. Released by 
Paramount 

WITH each fresh appearance of the 
Four Marx Brothers in films, the 
plot of the production grows thinner, 
the puns become more atrocious and 
the whole affair, for some mysterious 
reason, seems funnier than any of its 
forerunners. "Duck Soup" is no ex- 
ception. 

Groucho, Harpo, Chico, with Zeppo 
playing straight, can take ancient gags 
and the most venerable situations and 
by some sort of goofy hocus-pocus, 
turn these shopworn matters into en- 
during hilarity. In this film, which 
deals with happenings in the mythical 
state of Fredonia, none of which makes 
particularly good sense if examined 
coldly when the guffaws are over, the 
trio are goofier than ever with Groucho 
rising above the others. 

The film is elaborately staged and 
has a considerable amount of tuneful 
music. Otherwise it differs from its 
predecessors only in that it is more 
inanely funny and that Harpo has no 
opportunity to play the instrument for 
which he was named. To anyone who 
is fed up with the woes of film heroes 
and heroines, "Duck Soup" should come 
like a reviving breath of air, straight 
from the insane asylum. 

High Spots: Shots of charging ele- 
phants, racing crews, cross-country 
runners and schools of porpoises all 
supposedly responding ■ to Groucho's 
call for rescue on the battlefield. . ■ ■ 
Groucho prescribing bicarbonate of 
soda to repel a gas attack. . . . Harpo 
exhibiting his person as a tattooed 
memory book. 



New Movie's Review and Forecast Bulletin Mailed Direct to You 



The New Movie Magazine offers to its readers a 
fast, current and practical Review and Forecast 
Bulletin Service. 

These bulletins, mailed to readers who write in for 
them, will give you — 

1. A forecast of the forthcoming pictures, their 
titles, casts, plots, unusual situations, interesting 
news connected with the productions, and all 
other data of special interest about individual 
pictures. 

2. Reviews of pictures already released previous to 
the current issue of The New Movie Magazine. 
These will give not only the opinions of the staff 
reviewer of this magazine, but will also include 
whatever information is available upon the box- 
office or artistic success of the pictures reviewed. 



3. Changes of titles, changes of production plans, 
changes of casts, included in either the Bulletin 
itself or supplemented by a loose-leaf service. 

This is a service designed specially for the con- 
stant movie-goer — in other words, the fan — who de- 
sires to have, for reference, in handy form, a com- 
plete and compact record of film production of the 
season, past, present and future, something particu- 
larly valuable to keep before you to plan and choose 
your film entertainment. 

The cost of the Bulletin will be ten cents. Address 
your letters requesting these Bulletins to the Review 
and Forecast Editor, in care of The New Movie 
Magazine, 55 Fifth Avenue, New York, N. Y. 



106 



The Neiv Movie Magazine, February, 1934 




ARE YOU 11 CHILDREN 
HAVING FUN. TOO? 



Ik the New 31 on I lily Mngnzine 
for Younger Children 

IF your youngsters had a copy last n\onth of the 
first issue of Tiny Tower, you know how happ) 
they were with every page. How they enjoyed the 
cut-outs and drawings . . . laughed at the jokes and 
puzzles and pored over the rhymes and stories. 

But if your children didn't get the first issue of 
Tiny Tower, they can begin right now to have the 
fun that other boys and girls are having. 

^ ou can get a copy of Tiny Tower for 10 cents at 
F. \Y. "\\ ool worth stores or on convenient news- 
stands. Tiny Power provides so much good, whole- 
some amusement that mothers who seek constructive 
ways to keep their children happily busy will want 
a copy for them every month. The February issue 
is on sale December 29. Or . . . to be sure the kiddies 
receive their copy regularly, use the coupon below 
and give them a year's subscription (SI), a package 
of fun delivered by the postman every thirty days 
for twelve months! 

TINY TOWER, 55 FIFTH AVENUE, NEW YORK, N. Y. 



Please enter my subscription to Tiny Tower, to begin with the 
next issue. I am enclosing $1 for twelve issues and wish you 
would address them to the child whose name is written here. 



Child's Nomc_ 



_Age_ 



_Cily_ 



_State_ 



Your Name and Address^ 



mis 




!%i 



«w 



s 






Vte 



ViV 



;■:.:.;•;•> 



A 





V 





THE HEIGHT OF G' 




f 



tot a <=^luicm/, fol aumuJ c=£ucnit 



TASTE 



MAGAZINE 










LILIAN HARVEY 



I STEN, FIRST SOVIET STAR 
By EDWIN C. HILL 

MY LIFE UNTIL NOW by WALLACE BEERY 






Successor to "TRADER HORN" thrills! ^ 

Iwelve months or danger tilming in ## i>> =%% 

the Arctic— thrills never before attempted ! 

Spectacular picturization of Peter 

Freuchen's ''Eskimo"— romantic novel of 

woman and the strange moral code of the north 

Directed by W. S. Van Dyke who made "Trader Horn". . . Associate Producer: Hunt Stromberg 



A METRO-GOLDWYN-MAYER Picture 



Hand -to-hand 
fight with sav- 
age wolf! 



Actual blood- 
curdling sounds 
of breaking of 
the ice floes! 




/T 



AmJC lt~a, 



b h a m e I 



Pretty girl . . . pretty clothes . . . but she has cloudy teeth and tender gums! 




WHAT good company she'd be 
if people would only let her! 
Well read, quick of mind, entertain- 
ing, sympathetic. But the dingy 

shadow of neglected teeth dims all 
the rest of her very real charm. 
People can't see the personality 
for the teeth. 

Yes, it is a shame. But it is more 
than that; it is a warning. Her 
"pink tooth brush" should tell her 
that brushing is not enough. Her 
tender, bleeding gums say that 
gingivitis, or Vincent's disease, or 
even pyorrhea may be on the way. 



Her flabby, sensitive gums must be 
restored to health. 

It is so easy to have sparkling 
teeth and healthy gums, with your 
whole charm shining through. \o\\ 
needn't have a mouth that cant 
pass muster. Eat the tempting mod- 
ern foods — too soft to keep gums 
firm. Hut clean the teeth, and mas- 
sage the gums, with Ipana and 
modern foods can do no harm. 

A daily gentle massaging of the 
gums with an extra hit of Ipana 
gi\es teeth the lustre of health, 
and keeps "pink tooth brush" at 



bay, for Ipana helps keep gums' 
linn. Try it lor a month, and one 

M (HI \ U ill be 'J.d\lr. 



DON'T TAKE CHANCES! 



A gourf tOOth i<(i\li\ lil.t 

dentist, is never « luxury. 



II !_•<!< 



.,/ 



IPANA 

TOOTH PASTE 




nmsToi \i\ i RS i o . Depi. \ - i 

t -Irorl. No. 1..rk. V Y. 
Kin.lly lond n> a trial Itil.r of ITANA TOOTH 
PASTE. Endow*) ll a ihrrr.rrnt .lamp lo co*rr 
partly thr roil of parkin* and mailing. 



IYoiim 
Straw 
Cily — 



The Neio Movie Magazine, March, 193J, 




THE 



New Movie 



Read Edwin C. Hill's story of. the 
extraordinary rise of Anna Sten, 
Russia's child of revolution, blood- 
shed and famine, on page 30. In 
presenting ihe absorbing facts of 
this actress' struggle against a 
heritage of privation and hardship, 
Ths New Movie Magazine continues 
its policy of giving readers the 
most graphic stories of the Holly- 
wood stars, as well as the latest 
news cf the film-world — a policy 
which has made it the most 
popular and widely read of all 
motion picture magazines. 



MAGAZINE 



One of the TOWER MAGAZINES 



CATHERINE McNELIS, Publisher 



HUGH WEIR, Editorial Director 



VOL. IX, No. 



Cover Design by Clarke Mcore 



MARCH 1934 



Hollywood Day by Day Nemo 6 

A Baby Can Do It Aileen St. John Brenon 13 

Play Time in Movieland Grace Kingsley 1 4 

Hollywood's Younger Set. Henry Willson 18 

Garbo Yesterday and Today 22 

Nothing But the Truth . 27 

The First Soviet Star— Anna Sten . .Edwin C. Hill 30 

My Life Until Now Wallace Beery 32 



He 



to Vil 



Walk 



Smith 34 



My Mistakes Joan Crawford 36 

KEEP UP WITH THE LATE MOVIES AND READ 



The Love Story of Gary Cooper 

Dorothy Manners 38 

Hollywood's Roaring 40's Ramon Romero 40 

Once An Acrobat Harry B. Blair 42 

I Call Dad "Pete" Douglas Fairbanks, Jr. 44 

Class with a Capital Kay Elsie Janis 50 

Close-Ups 52 

New Movie's Hollywood Fashions 55 

People's Academy, 58. . . . Coiffures for Constance, 60. . . . 

Music in the Movies, 62. . . . Late Winter Styles, 64. . . . What's 

to Eat in Hollywood, 66. . . . The Malce-up Box, 68. . . . News 

of the New, opposite page 59. 



New Pictures You Should See and Why 

By Frederic F. Van de Water, on page 46 



Advance News of New Films in the Making 
By Barbara Barry, on page 16 



Published Monthly by TOWER MAGAZINES, Ixc, 4600 Diveisey Avenue, Chicago. 111. 

Executive and Editorial Offices: 55 Fifth Avenue, New York, X. Y. . . Home Office: 22 Xo. Franklin St.. Wilkes-Barre, Pa. 

Western Editorial Office: 7046 Hollywood Blvd., Hollywood, Cal. 



OFFICERS 
Catherine McXelis, President 
John P. McXelis. rice-president 
Theodore Alexander. Treasurer 
Marie L. Featherstone, Secretary 



Copyright, 1931 (Title Res. U. S. Pat. Off.), by Tower Magazines. 
Inc., in the United Slates ami Canada. Subscription price in 
tbe TJ. S. A., £1.00 a year. 10c a copy; in Canada. SI. SO a 
year, including duty. 15c a copy: in foreign countries. S2.00 a year. 
20c a copy. Entered as second class matter September 9. 1933. at 
the Post Office at Chicago. HL. under the Act of March 3. 1S79. 
Printed in U. S. A- Xo.liing that appears in THE NEW MOVIE 
MAGAZINE may be reprinted, either wholly or in part, without 
permission. Tower Magazines. Inc.. assumes no responsibility for 
return of unsolicited manuscripts, and they will not be returned unless 
accompanied by stamped, self-addressed envelopes. Owners submit- 
ting unsolicited manuscripts assume a'l risk cf their less or damage. 



ADVERTISING OFFICES 
55 Fifth Avenue, Xew York, X. Y. 
919 Xo. Michigan Ave., Chicago, 111. 
Russ Building. San Francisco. Cal. 



On Sale at TFool-uorth Stores and Newsstands the 1st of Every Month 



Oirls who know* I his sccrti always win out 




Precious Elements in this 4J 
Soap — Scientists say: 



".Skin grows old-looking 
through the gradual loss 
of certain elements 
Nat urc puts in skin to 
keep it youthful. Gentle 
Lux Toilet Soap, so 
readily soluhle, actually 
contains such precious 
elements — checks their 
loss from the skin." 



td/W men cant resist 



The Neiv Movie Magazine, March, 193b 




I AM WEM 




HOLLYWOOD 

DAY bv DAY 



mm HOLLYWOOD'S big bad wolf 
ft£l for the pasl few months has 
BvKI been the much-argued-over mo- 
'AA" tion-picture code and every- 
one was glad to hear that Mario 
Dressier and Eddie Cantor had 
been appointed by President Roose- 
velt to act as members of the com- 
mittee to work out its problems. 
Hollywood collectively feels that a 
better choice could not have been 
made, for Marie and Eddie are not 
only very influential with the "big 
ones," but they are intensely inter- 
ested in what happens to the little 
fellow. 

Mr. Cantor told me he had not 
received any official appointment and 




Sam Hardy returns to Hollywood with 

his wife after working three months on 

an English film. 



suggested that it might be one of 
President Roosevelt's little jokes. 

"When I visited him at Warm 
Springs he refused to talk about the 
code so I told him all of my best 
jokes," Eddie said. "Maybe he is 
just now returning the compliment." 

I went up to talk it over with my 
old friend, Marie Dressier, who had 
been ordered to bed for a few days' 
rest, and found her looking so beau- 
tiful that I forgot all about codes. 
That is, motion picture codes. 

Her bedroom is green and Marie, 
looking really beautiful, was propped 
up in a narrow pink bed. Every- 
thing about it was pink, even 
Marie's bed jacket. But keeping 
Marie in bed, even in that pink bed, 
is more than one doctor's orders 
could do. "I want to show you 
this," and "I want to show you 
that," she would say and skip across 
the room to rummage in a drawer 
or in her desk. And do you think 
anyone could get these things for 
her? No. "Because no one can ever 
find anything when I put it away," 
she explained with a chuckle. 

"I just received a lovely gift," she 
said, and hopped out of bed to get it. 
The gift was a lovely pin, a cameo 
surrounded by real pearls. There 
was a great deal of sentiment at- 
tached to this gift because the pin 
had belonged to a very dear friend 
of. Marie's who died recently. The 
husband had sent it on to Marie, and 
there were tears very near the sur- 
face as Marie showed it to me and 
remembered. Then she wanted to 
show me a funny fan letter she had 
received. The writer, a girl, begged 
Marie to adopt her. 

"I could be a very good daughter 
to you," the letter ran, "and besides 



By 

NEMO 



Joe E. Brown speaks no evil, sees no 
evil and hears no evil in his interpreta- 
tion of Nemo. He will be seen soon in 
a Warner Brothers' picture, "A Very 
Honorable Guy." 



The New Movie Maga- 
zine's man-about-town 
gives you all of the 
latest gossip from the 
movie colony 

I want to play tennis with Clark 
Gable." 

Before I left we did get back on 
the subject of the code and I found 
Marie's feelings about it to be the 
same as those of the other regulars. 
"We must help the little fellows," 
she said. "The extras and bit players 
need our help, for they can't do much 
for themselves." 

This point was brought out beauti- 
fully recently at a meeting of extra 
players who had been called together 
to discuss whether or not they should 
join the Actors' Guild. 

Ann Harding, Thelma Todd, Rob- 
ert Montgomery, Adolphe Menjou, 
(Please turn to page 8) 




B|-nc«< A. Ilnchraeli 

James Gleason as "Duke", the small- 
town big shot in "The Meanest Girl 
in Town," an RKO-Radio picture. 



The Neiv Movie Magazine, March, 193 i 




/ WEIL, SOMEBODY 
I HAS TO 00 THE 

WASH. WE CAN'T 
S AFFORD A 

( LAUNDRESS 




BILL SAYS HIS WIFE USES RlNSO. 

IT SOAKS OUT DIRT AND SAVES 

SCRUBBING. WHY NOT TRY IT, ANN 9 



NEXT WASHDAY 






. AND YOU TELL BILL TO TELL HIS WIFE I'M SORE ! \ 
SHE SHOULD HAVE TOLD ME ABOUT RINSO LONG AGO. 
DIDN'T SCRU6 OR BOIL TODAY, YET MY CLOTHES ARE J 
A OR 5 SHADES WHITER/^ 




RINSO MAKES CLOTHES 

LAST 2 OR 3 TIMES 

LONGER- 1 KNOW 

THAT WILL SAVE ME 
LOTS OF MONEY 

m I'll never use a washboard again 
— that's what ruins clothes! The 
Rinso way is so gentle — yet clothes 
come whiter than ever. I'm using 
Rinso lor dishes, too. I'm using ic 
fora//cleaning — it'sso economical. 
No wonder the makers of 40 
tamous washers recommend 
Rinso! No wonder it's approved 
by Good Housekeeping Institute. 
Try it. See what rich suds a little 
gives even hi hardest water. 



{ 



(g&G3 l\ WU^H L?(§ 



™o§? 




BUT I'VE BEEN A GOOD 
WIFE. JOHN'S CHANGED 
-GROWN INDIFFERENT 



/ 



YOU'VE BEEN A BIT 
INDIFFERENT, TOO. 
SHALL I BE VERY 
FRANK ? 




I'M GLAD AUNTIE 
GOT ME TO USE 
LIFEBUOY. IT'S GRAND! 
NO "8.0." NOW 




D. \J . (body odor) 

— a kill-joy 



'T'O guard happiness — guard against 
A that unforgivable fault, "B. O." 
(body odor). Bathe regularly with Life- 
buoy. Its extra-dean, quickly-vanish- 
ing scent tells you Lifebuoy protects. 
Its abundant, hygienic lather purities 



and deodorizes, pores — stops "B. O." 

For a lovelier skin 

Every night massage Lifebuoy's gentle, 

purifying lather well into pores; then 

rinse. Watch skin bloom with health. 

Approved by GooJ Houitkttpws Bureau. 




The Neiv Movie Magazine, March, 103 J, 



Hollywood Day by Day 




Mae Clarke and Sydney Blackmer at ihe annual frolic of the Thalians 
Club at ihe Cocoanuf Grove of the Ambassador. 



(Continued from page 6) 
Charles Farrell, Richard Tucker and 
others — all members of the Guild — 
had made speeches, all giving rea- 
sons why the extras should join their 
ranks. The audience listened atten- 
tively and then suddenly began to 
shriek for Cagney, who was sitting 
in the front row of seats. 

I wish you could have seen Jimmy. 
He looked as though he had been 
hit on the head with a mallet, he 
was so surprised, but he got to his 
feet and in his quiet way made the 
most effective speech of the evening. 
At least the crowd thought so and 
nearly, took the roof off the build- 
ing with their applause. Jimmy's 





Francis Lederer and Duke Rudolph 
Mariinovitch von Rovigno of Montene- 
gro. The Duke, who prefers to be 
known in Hollywood as Captain 
Rovigno, is working as an animal man 
in Lederer's new RKO-Radio picture, 
"Man of Two Worlds." 



speech was short, but he said, in 
effect : "Any business is divided into 
two groups, the employer and the 
emploj-e. We actors are ' the em- 
ployes. Come with us." 

May Robson is another good 
trouper who doesn't forget. When 
she appeared on the set for the first 
scenes in "Old Hannibal," she imme- 
diately asked for Fred Trowbridge. 

"Who is he?" they asked her. "Is 
he working in the picture? Did he 
write the scenario?" 

"Oh, no," May replied. "He's an 
extra, but he was in my company 
on the stage for fifteen years and 
he must be in this picture." 

And so Mr. Trowbridge is now 
working in the picture, which is the 
story of Hetty Green during the 
1895-1900 days. The costumes are 
Mae Westish in design. 



AND speaking of Mae West, I'm 
^1 getting a little fed up with these 
slams at her billows or curves or what- 
ever it is she has that the other girls 
haven't. These jealous references to 
her "community chest." Ill wager it 
was all started by a lot of skinny girls. 
However, if it is true, as they say, 
that Mae is responsible for the numer- 
ous Bowery parties that everybody is 
having, I think something should be 
done about making her next picture 
nice and modern. If I have to wear a 
long, curly mustachio glued to my 
upper lip to one more party, I'm going 
to take drastic steps myself. But Mae 
is already reaping some punishment 
for her popularity. She wanted one of 
her costumes from the wardrobe the 
other day to wear for a portrait sit- 
ting and there wasn't one left that she 



could wear. They had been borrowed 
so many times for 1890 parties that 
they were . practically in shreds. 

But even if they can and do borrow 
Mae's costumes, none of the girls look 
like Mae and they could sing, "Come up 
and see me some time" to me for a week 
and I wouldn't hear them. 

A local college football team wanted 
to borrow one of her costumes for one 
of the boys to wear as he paraded over 
the field between halves, but Mae's 
manager said that was just too much. 
And the Paramount papas say that Mae 
is getting too much publicity. 



Kl GETTIXG too much publicity is 
OT worse, if anything, than not get- 
ting any as Fifi Dorsay learned 
recently. A press agent sent out a 
story to the effect that Fifi and her 
fiance, Maurice Hill, were going on 
a trial honeymoon. The story teas 
ividely printed and Fifii found her- 
self on the receiving end of a bar- 




Dick Powell and Maxine Doyle at a 
recent Hollywood premiere. 

rage of scolding letters and tele- 
grams from women and women's 
clubs all over the country. 

"Hoic dare you flaunt your im- 
morality before the youth of the 
country?" was the gist of the let- 
ters, most of which carried threats 
to bar her pictures from their com- 
munities. The story was not true 
and Fifi had nothing to do with 
sending it out, but she is the one 
icho will suffer the consequences. She 
feels that her career is in danger and 
is very much upset about it. 



The Neic Movie Magazine, March, 193 A 



H o 1 1 yw oo d Day by Day 




Ricardo Cortez has at last admitted 
his engagement to Mrs. Christine Lee, 
New York society woman. She was re- 
cently divorced from Lester Lee, 
wealthy broker, and Cortei was 
formerly married to Alma Rubens, who 
died in 1931. 



Mat/rice Hill, >rho is now Fiji's 
husband, is a nice young chap, who 
Imx had st ven years' study of medi- 
r'nii. He lucks only a few months' 
interneship to become a full-fledged 
doctor; is ready to throw it all in 
the ash can for a movie career. He 
was bitten by tin bug five years o<t<> 
when he was selected in a national 
magazine contest as the handsomest 
college chap in the Middle West. And 
I must say he IS handsome and may 
have signed a contract before you 
read this. 

But signing a contract is the least 
of an actor's difficulties, according 
to .fach- Gilbert, who is suing M-G-M 
to find out whether or not he is na- 
dir contract to that company. 



Rl AND Lilian Harvey has insti- 
OT d a friendly suit againsl 

Fox Company to have tin- court "in- 
terpret" her contract. All of which 
means sin- wants to know if Bhe can 
be forced to "dub" French and Ger- 
man dialogue into the English ver- 
- of her pictures which arc al- 
ready made. While the suit is pend- 
ing she is making them under pro- 
test. ".My friends ami fans in 
Europe will think I'm crazy." Bhe 
complained, "because the actions in 
different countries are just as differ- 
ent as the languages'." 

But any of the new crop of blondes 
who were casting envious eyes to- 
ward Lilian's bungalow dressing- 
room may as well remain satisfied 
with their quarters in the women's 
dressing-room building, for Lilian 
has signed a contract to remain an- 
other year. 

.Many stars — Greta Garbo, Norma 
Shearer, Joan Crawford, Jeanette 
MacDonald, Marie Dressier, May 
Robson and Jean Harlow — seem to 
make good pictures without dressing 
in private bungalows. In fact, all 
of the above mentioned stars have to 
climb a rickety old stairway to get 
to their dressing-rooms, so you can 
see that even though Janet Gaynor, 
Lilian Harvey, Ruth Chatterton and 
Marion Davies have bungalows, it 
isn't really necessary. 

Norma Shearer's husband, Irving 
Thalberg. dynamic young producer, 
has a bungalow in which to transact 
his business. His private office, a 
beautiful room is about 25 x 40 
feet in size with a huge fireplace at 
one end. French doors form one 
side of the room and lead out into 
a private courtyard. I wouldn't blame 
Norma if she sneaked in there to 
wash her hands once in a while. 
But of course if Norma, a great star 





For the first time Baby LeRoy has dialogue written in his script in his new 

Paramount picture, "Miss Fane's Baby Is Stolen." The dialogue consists 

of the word "mama." He is shown here with his screen mother, Dorothea 

Wieck, and his director, Alexander Hall. 



Adolphe Menjou and his fiancee, 

Verree Teasdale, stage and scresn 

actress. They will be married in the 

Spring — so the gossips say. 

in her own right, wanted a bungalow 
she could have it. It is a great 
tribute to her common sense that 
she keeps her head, demands no 
greater favors than those granted to 
the other stars ami goes about her 
own business of making very good 
pictures. 

Norma made a reel of film recently 
that will never be seen by the public. 
She has twenty changes of costume 
in her new picture, "Rip Tide," and 
she donned every one of them for a 
lest film. All of her gowns and even 
her hairdress are being kept secret 
until the picture is released because 
Adrian, who designs all of the 
M-G-M wardrobe, claims that his 
creations are copied by cheap manu- 
facturers before the pictures are 
shown. Each gown which lie lias de- 
signed for Norma has a name, just 
like French designed clothes, but 
there will be no advance publicity — 
they say. 

When Norma is making a pic- 
ture, she and Mr. Thalberg seldom 
make social engagements. At a 
party at the Sam Goldwyns Irving 
was glimpsed nervously looking at 
his watch and after a brief twenty 
minutes, they left. Since his break- 
down last year he has had to guard 
his own health as well as Norma's. 
(Please turn to page 10) 



The Neiv Movie Magazine, March, 193U 



H ol lywood Day by Day 



(Continued from page 9) 
HOW anyone could leave a Gold- 

_ wyn party, I can't understand, for 
there is the perfect host. Unlike so 
many Hollywood hosts, both Mr. and 
Mrs. Goldwyn put themselves out to 
see that every guest is cared for and 
that everyone is introduced to every- 
one else. 

I remember one time several years 
ago in New York when Sam decided to 
fire an employe. He invited the ill- 
fated chap up to his house to dinner. 
They had a nice visit, Sam put himself 
out to be the charming host, even hold- 
ing the fellow's overcoat for him when 
he was preparing to leave. And ac- 
cording to the fellow's own version 
of the affair, he was halfway home be- 
fore it dawned upon him that he had 
been fired. It was done so painlessly. 

Another guest at the Goldwyn party 
was Mary Pickford, who came early 
and stayed late. Mary is socially minded 
recently and, although she is always 
surrounded by several men, she pre- 
tends they are Gwynne's admirers. 



Mary is never at a loss very long. She 
stepped out of the offending garment, 
stooped over and picked it up, with it 
hanging over her arm, tripped grace- 
fully down the stairs as though nothing 
had happened. 

Of late Pickfair hasn't been crowded 
with royalty and it has fallen to the lot 
of other stars to entertain visitors from 
abroad. Will Rogers did his share 
and entertained Prince Louis Ferdi- 
nand, grandson of the ex-Kaiser, both 
at his home and at the studio. What 
Mr. Rogers lacks in formality he 
makes up in wit and charm and the 
bluebloods like him as much as we do. 
At the studio when Rogers gave quite 
a party for the Prince, with other dis- 
tinguished guests present, he wore his 
usual costume consisting of blue over- 
alls and a lumber jacket. 



m 



CONSTANCE BENNETT and 

her husband, Henri de la Falaise, 

had Baron Jaunez as their house 




Jeanefte MacDonald, emerges from the pool at Palm Springs to find that 
her English sheep dog, "Captain," has reached the community towel first. 



Gwynne is her niece, you know, and is 
a grand girl but she's not as popular 
as Mary yet. 

Mary had a crowd in hysterics telling 
of her most embarrassing moment. It 
was while she and Mr. Fairbanks were 
the guests of Count and Countess di 
Frasso in Rome and a very smart re- 
ception was being given in their honor. 
Mary had spent hours getting dressed 
for the occasion and finally it was time 
for her to make her appearance. She 
stood at the head of the grand stair- 
way. She was announced. She bowed 
and smiled and then, instead of pro- 
ceeding down the stairs, stood frozen 
to the spot. A very intimate piece of 
lingerie had slipped down and clung 
around her ankles. For a moment she 
was horror-stricken but you know 



guest recently, but when he left they 
had the ivhole house thoroughly dis- 
infected because the poor chap had 
typhoid fever and didn't know it. 
Instead of leaving town when he 
left their house he went to the hos- 
pital very ill. 

Then Phil Plant arrived in town. 
Phil isn't royalty but he has lots of 
money and he was married to Con- 
stance once. The first person he 
telephoned was Constance, who in- 
vited him out to her house for lunch. 
And the Marquis, like an obliging 
husband, got very busy at the studio 
and couldn't go home for lunch. 

• • • 
|gj GRETA GARBO is seldom seen 
EH anywhere these days and never 
without her director, Rouben Jlam- 




Fay Wray relaxes for a few minutes of 
reading between scenes during the 
filming of "Madame Spy" — the new 
Universal picture in which she piays 
the title role opposite Nils Asther. 

oulian. It looks like a romance but 
M-G-M officials discourage rumors 
that she will marry him. They think 
she would lose her popularity if she 
married. How about it, fans? 
Wouldn't you like Garbo just as well 
if she were married? 

And the studio doesn't like the 
idea of humanizing their glamorous 
star by the press, either. Sarah 
Padden, who worked with her in 
"Queen Christina," told me that she 
didn't know Garbo was different 
from anyone else. 

"The first day I worked with her 
she was charming. We talked and 
worked like any two actresses. When 
(Please turn to page 12) 




The first photograph of Hollywood's 

latest and most romantic newlyweds, 

Bruce Cabot and Adrienne Ames. 



10 



The New Movie Magazine, March, 193b 



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The New Movie Magazine, March, 193 J, 



11 



Hollywood Day by Day 




Marion Davies and Nacio Herb Drown 
and Arthur Freed who made the 
musical numbers for her new M-G-M 
picture, "Goinq Hollywood," directed 
by Raoul Walsh. 

{Continued from page 10) 
I went on the set the sscond day I 
spoke to everyone and then, because 
Miss Garbo was across the stage 
from me, I waved to her. She waved 
back and I thought nothing of it 
but everyone came to me and said 
I shouldn't have done that. It was 
done and I couldn't undo it, and Miss 
Garbo continued to be charming as 
long as my engagement lasted." 

Miss Padden had a Polish diction- 
ary under her arm when I met her. 
She explained that sha was trying 
to figure out the accent she should 
use for her Polish role in "As the 
Earth Turns." 

I'll have to call on Emilv Post 
again to settle a point of etiquette. 
Now it's Mary Br'an and Don Cook 
who have all Hollywood puzzbd. 
They met on a picture and a romance . 
started. Don was devoted, as he al- 
ways is at the beginning of a ro- 
mance, and Mary was yes and noish 
as usual, but they were seen together 
constantly. Then Don had a house- 
warming party, followed by large 
quantities of s'lenee, and the two 
were seen together no more. Some 
say there was a little argument be- 
tween two fellows during the course 
of the evening and one contestant 
landed in the top of a tree. Others 
say that Mary called a taxi and want 
home. Don says they are still 
"going together"; Mary says they 
are not and, inasmuch as actions 
speak louder than words, it looks 
as if Mary is right. 



KM AT the Fox studio where she once 
GO shook her beads as the star of 
"Queen of Sheba," Betty Blythe is 
now playing Mary Brian's mother. 
But she is a very gay, young mother — 
a very gallant person just like Betty 
really is — and, in Betty's words, "she 
is on the make for Herbert Mundin." 
"But George O'Brien is SO roman- 
tic in some of the costumes he wears 
in this picture, that I wish I were on 
the make for him," she said with a 
sigh. 



George is making a wide breach be- 
tween his cowboy roles and his first 
romantic role in years in "Ever Since 
Eve." He wears fifteen different cos- 
tumes in the picture. 

I've seen several foot and hand prints 
recently, and not in the forecourt of 
Grauman's Chinese Theater either, 
which only goes to prove that actors 
are just little boys grown up. On a 
little piece of cement patchwork in 
front of Gary Cooper's dressing room 
at the Paramount Studio are . the sig- 
natures of "Gary, Harpo, Dick and 
Jack," with illustrations that I couldn't 
describe in a family magazine. On the 
curbstone in front of Lew Cody's house 
is the one word, "Cody." And in the 
Chaplin Studio on the sidewalk are 
Charlie's footprints and his signature, 
written with a cane. 



Rl SPEAKING of the Chaplin 
I5H Studio, the activity that has been 
promised for months is only now get- 
ting under way. You remember we 
told you Chaplin had promised to 
have two pictures finished before 
Christmas? Well, of course, if you 
knew Chaplin as we do you wouldn't 
have taken that seriously, although 
he was serious when he made the 
statement. 

Even though Chaplin hasn't ac- 
tually been working at the studio, he 
has been perfecting his story and re- 
hearsing with, his two principals, 
Paulette Goddard and Cecil Rey- 





George Raft and Carole Lombard in 

the "Raftero," a new dance designed 

for the much-discussed "Bolero," now 

in production at Paramount. 



a 



Virginia Valli, wife of Charles Farrell, 

with Mr. and Mrs. Johnny Mack Brown 

at the Russian Eagle supper club. 

nolds. Cecil wishes people would for- 
get the doctor part of his name, so it 
is through no disrespect for his abil- 
ity as a doctor that I dropped it. 
And Chaplin, came very nearly not 
having a villain for his picture when 
Cecil went out in his small motor 
boa,t to fish recently. A mile from 
shore his motor went dead, a storm 
came up and Cecil had to paddle in 
with one oar. The fish he had caught 
were swimming merrily around in 
the boat which was half full of 
water, and had to be caught again. 

A dressing-room has been re- 
decorated for Paulette's use — th° 
same dressing-room that was used 
by Edna Purviance, Lita Grey, 
Merna Kennedy and Georgia Hale. 
Paulette chose the furnishings her- 
self, all in soft rose and gray. 

Chaplin didn't use to take so long 
to make a picture. "A Dog's Life," 
for instance, the first picture he 
made at the little La Brea Studio, 
was completed in ninety days. Chap- 
lin has apparently been under the 
Mae West influence for some time 
for he is now a "man what takes h-'s 
time." Not that it matters, only I 
can hardly wait to see Paulette! 

I saw Buster Keaton and his bride 
at a party recently, and couldn't 
help remarking the great change in 
him. He is beginning to look as 
he did ten years ago and everyone 
is hoping he will make a comeback. 

They live in a house right across 
the street from the fourth hole at 
the Rancho Golf Club and when 
Buster sees a serious golfer about 
to play off that hole, he rushes out- 
doors and yells: "The idle rich! 
Bah!" and then slams the door after 
him when he goes back into the 
house. Any golfer knows ivhat that 
does to a play. 



IJI DUDLEY MURPHY, basking in 
RS5 the glory of his picture, "Em- 
peror Jones," which he directed in 
New York, now wants to change his 
name. Dudley says he appreciates 
his good Irish name, but insists he 
isn't like his name. He is choosing 
(Please turn to page 98) 



12 



The New Movie Magazine, March, 1934 




Baby LeRoy knows that all work and no play makes Jack a dull boy. Here he is, the highest-salaried baby 
in the world, in one of his daily play interludes. Dorothea Wieck seems to be enjoying it just as much as he. 

A Baby Can Do It 

By AILEEN ST. JOHN BRENON 



A SEVEN-YEAR picture contract in his nursery 
safe, Baby LeRoy. with five productions to his 
credit, sits in his high chair, ignoring all 
" questions and refusing to eat spinach. 

Up to date he has never uttered a word for publica- 
tion, but since even a baby's life belongs to his public 
when he is in the movies, here are the inside facts of 
the private and public career of the most popular 
baby on the screen. 

Baby LeRoy's real name is LeRoy Winebrenner. 
He was born on May 12. 1932. A year later his name 
was in electric lights. When he was born he weighed 
five pounds and eleven ounces. He has not been care- 
ful with his diet and now weighs 27 pounds and one 
ounce. He has blond hair, blue eyes and twelve teeth. 

He got his first job because he was the only one in a 
whole nursery-full of children to laugh when Chevalier 
came into the room. 

He takes many privileges while on the set, chiseling 
a nap every day at the studio. He is allowed on 
the set only four hours — and to work only two. He 
always has two companions when he is working: one 
is his mother, now eighteen years of age, and another 
is Rachel Smith, from the local Board of Education. 

While his vocabulary is not extensive, it's very up- 
to-date — comprising three expressions, "Hot Dog," 

The Neiv Movie Magazine, March, 193U 



"Bye Bye" and "Oh Boy." Slang has been barred on 
the set because of his aptitude in learning it. 

Baby LeRoy never uses make-up. He's a merry soul 
and hates to cry — even for his art. 

In making "Miss Fane's Baby," it was necessary for 
him to cry while in his crib, and this is how it was 
brought about: He hates to be told to blow his nose, 
so Miss Smith would put a handkerchief to his nose 
and say "Blow." Baby LeRoy would cry vociferously, 
and then Miss Smith and her handkerchief would re- 
treat — and the cameras begin winding. 

The biggest moment in his career occurred when 
he took his first step. Moving pictures were taken 
and his first words were recorded in sound. 

Though one of the most popular players on the lot. 
Baby LeRoy has no dressing-room — merely a crib. 
His high chair has his name on it. All sorts of 
methods are resorted to to keep him quiet on the set. 
Executives let him throw their watches on the floor, 
stars let him fiddle with their make-up boxes. 

Is it Beauty, Brains or Sex Appeal which has 
given Baby LeRoy his great drawing power with the 
public — so great, indeed, that at 18 months of age 
he is one of Paramount's most popular players? He 
gives no explanation himself, but it's safe to wager, 
I haven't a doubt, that the answer is "Heart Appeal." 



13 




HOW 
HOLLYWOOD 
ENTERTAINS 




Wide World 



John Mack Brown, the host, in the center 

with two of his guests — guess who — Mr. and 

Mrs. Fredric March. 



Ginger Rogers and Lew Ayres at John Mack 
Brown's tennis party. 



Playtime in Movieland 



I HEARD of a girl in Hollywood once who gave a 
party to celebrate a new party dress ! 
Well, of course, that's going rather far even 
for Hollywood. 
But Hollywood does love to celebrate events. You 
can't possibly get a new whoopee room or a new 
swimming pool, — or, somebody said slyly, the other 
day, a new bathroom ! — without celebrating with a 
party. 

About that bathroom thing, now, I do remember a 
star taking me to see her new bathroom. It was 
decorated with wall paper representing an aquarium, 
with little fishes swimming all about. 

Well, I did feel then that the fishes had more pri- 
vacy than I ! 

C PEAKING of celebrations, John Mack Brown has 
^ the takingest new tennis court, and celebrated with 
a party. 

Tennis is the universal exercise of the moving pic- 
ture folk. If you don't know tennis, you are just too 
stupid. I accused a producer the other day of asking 
a certain candidate for a big role in a picture what 
her tennis game was like. 

"But you mustn't get too good," whispered John 
Mack Brown to me, "or they'll think you're not 
working!" 

John had to run away in the middle of the after- 



14 



noon, clad in white trousers and blue coat, to the dog 
show, to put his dog through his paces. His wife 
wanted him to change to formal business clothes, but 
Johnny was so excited about his dog that he ran off 
just as he was. 

Barbara Weeks was there, and Gwynn Williams was 
to call for her after tea. There is something interest- 
ingly romantic going on. 

Fredric March and his wife came early and had 
breakfast on the terrace, along with Fay Wray and 
John Monk Saunders, Charlie Farrell and Virginia 
Valli, Mr. and Mrs. John Lodge, Lew Ayres and 
Ginger Rogers, Billy Bakewell and William Seiter, Mr. 
and Mrs. Ralph Bellamy, Grace Williams (she who 
was slapped by Mary McCormick) ) . 

ALL the girls wear slacks at these breakfast-tennis 
affairs. Virginia Valli looked cute in gray ones 
with a red ribbon around her hair and one around 
her neck. 

Barbara Weeks wore real trousers like those that 
men wear — but Barbara is a girl who can wear any 
kind of trousers and get away with it. 

WISH you could see John Mack Brown's house. It 
is what somebody called in old-fashioned phrase 
a "storehouse of treasure." 

You see both Johnny and his wife are descended 

The New Movie Magazine, March, 1934- 



GRACE KINGSLEY, New Movie's Hollywood society reporter, gives you an 
invitation to attend with her some of the gay functions of the film capital 



from Mayflower folk, and their house ia filled with 
wonderful antiques. 

For instance there ia the silver pitcher wrought by 
Paul Revere, together with the bill of sale signed by 
Paul himself, with a little picture (a delicate minia- 
ture) of the first owner of the pitcher. 

Whoever thought of Paul Revere having a vocation! 
One thinks of him simply as flying about the country 
on a horse. Pu: this pitcher ia a very lovely pitcher, 
and would be even if Paul never had done anything to 
make himself renowned otherwise. He waa a skilled 
■flver-and-goldsmith. 

Then there is the wall pap r. taken from some 
French palace, representing n French gar- 

dens of quaint other days, and which now adorns the 
entrance hall to the beautiful English house. 

Johnny has taken his little brother David, eleven 
years old, to raise, since his parents passed away. 
David is a good-looking little boy, and will probably 



go into pictures if he shows any inclination to do so. 

EDWARD G. ROBINSON swung wide the 
his eily Hills home, and, together with 

the lovely Mrs. Robinson, welcomed his friends. 

And when Eddie and his wife swing wide their 

door ainly a rush ; 

John Barrymore and lis wife, Dolon I istello, 

among the guests. But, while Dolores circulated, 

John retired upstairs to Eddie's den with Joe Caw- 

thorne, Edmund Breese and other choice spirits, and 

swapped yarns. He didn't wen come down to supper. 

Nevertheless he is going about more than formerly. 

to the Mayfair, and though somebody related 

that he wore house slippers, just the same he danced! 



Wll ICH reminds m.' 
Barrymore's told 
New 5 



of a story that an old friend of 

him when he wa.- in 

/' tarn to page 81) 




An interesting group at John Mack Brown's tennis party. Reading from left to right: Lew Ayres, 
Ginger Rogers, Virginia Valli and her husband Charles Farrell, Fay Wray and Barbara Weeks. In 

front is John Mack Brown, himself. 



The New Movie Magazine, March, 1934 



15 




You would never think of Freddie March playing the part of 
Death, but watch him in Paramount's "Death Takes a Holi- 
day." Here he is saying good-bye to Evelyn Venable. 



Of course, it's Lionel Barrymore, playing one of his most loved 
roles in the new Fox picture, 'Carolina.'' The lady seated next 
to him as he offers his toast is no other than Henrietta Crosman. 



Advance News of 

By BARBARA BARRY 



FREDDIE MARCH is starring in a 
new Paramount picture, and what 
a picture ! And what a title — 
"Death Takes a Holiday." And 
what a fantastic story by Alberto 
Casella ! Let me tell you something 
about it. 

Death (get out from behind' that 
cape, Freddie March . . . we know 
you ! ) desires to spend three days on 
earth, as a human being. He induces 
Sir Guy Standing to take him into his 
home as a week-end guest and there, 
falls in love with Evelyn Venable; who 
is engaged to Sir -Guy's son. 

It is a fantastic situation. With 
Death gone A.W.O.L. it's absolutely im- 
possible for despondent mortals to 
shuffle off this mortal coil. Bankrupt 
stockholders leap from the fla"g pole of 




Warner Brothers are spending lots of money 

on "Wonder Bar," with Dolores Del Rio and 

Al Jolson. Here is Dolores in a dramatic 

scene with Ricardo Cortez. 



the Empire State Building, bounce 
around for a while, and walk perplex- 
edly away from the spot where the body 
should have been found! Mortifyin', 
no less. But dandy in a way, -don't you 
think? Or, don't you? 

Freddie's original inclinations have 
been more or less- sinister, but, when 
Love comes to Death-, the gentleman's 
cruder instincts flv out the window. 
Cute, eh? Different ... but still cute. 

When Freddie tells Miss Venable that 
his time on earth is up and he must 
leave, she quietly insists that h"e take 
her with him. Horrified, he refuses, 
and, when he finds that she is deter- 
mined, he pretends that he has never 
cared for her. 

But she* sees through his intrigue and 
follows him happily out into the wher- 
ever it is Death goes after vacation 
time. 

March is his usual swell self and 
Venable has heaps of possibilities, being 
a cross between Miriam Hopkins, 
Evalyn Knapp, and with just a dash of 
Dolores Costello tossed in for good 
measure. You can't ask for more than 
that. 

Mitchell Leisen- directs with a pic- 
turesque and not too sinister touch. 

Heat Lightning (Warner's) 

ALINE MacMAHON runs a filling 
■* ■*■ station in the sweltering wastes of 
the desert. Her kid sister, Ann Dvorak, 
helps out at the lunch counter, but she 
is dissatisfied with the solitary life and 
yearns for the lights and gay romance 
of the wicked city. 

It has been to save the little gal 
from the "fate worse than death" that 
Aline has gone into the gas and oil 
business, and, remembering her dance- 
hall days, you might as well know that 
she isn't any too tickled with existence 
in the wide open spaces. 

Ann sneaks out to meet Theodore 



NEW 




It is an Intriguing title that Fox has given 

their new picture — "Ever Since Eve." Above 

you will find Mary Brian, George O'Brien and 

Herbert Mundin in one of the climaxes. 




This picture doesn't look very much like a 
"Journal of Crime." But that is the title which 
Warners have given to it. Here are George 
Earbier, Claire Dodd and Adolphe Men[ou. 



16 



The New Movie Magazine, March, 193Jf. 








They call the new Paramount picture with George Burns, Grade 

Allen ond Charlie Ruggles, "Six of a Kind." Here they are in 

person, probably looking for the other three absentees. 



Romance in a filling station. If you don't believe it, the new 

Warner picture, "Heat Lightning," will try to prove it to you. 

Here are Preston Foster, Lyle Talbot and Ann Dvorak. 



pi I KAQ in the Making 




For your information an intimate guide to the 
latest pictures now being made in Hollywood 



You would not think that Robert Montgomery 
and Elizabeth Allan were discussing the new 
M-G-M picture, "The Mystery of the Dead 
Police," but that is just what they are doing. 




In "Viva Villa," Wallace Beery plays the fire- 
eating Mexican general up to the hub caps 
and over. Stu Erwin replaces the over- 
ebullient Lee Tracy, and you're going to like 
this picture. 



Newton, with whom — for lack of any- 
thing else to do — she imagines herself 
in love. Ted is really a no-good, as you 
. . . and you, will be able to tell at a 
glance. But don't let on. In this par- 
ticular instance, Ann's getting paid to 
be dumb. 

While Ann is out straying from the 
straight and narrow, Preston Foster 
and Lyle Talbot, who have just pol- 
ished off a pair of bank cashiers, pull 
in to revive their sputtering motor and 
"check the erl, kid." 

It develops that Preston has been a 
Big Moment among the Split Seconds 
of Aline's dance-hall days. This is so 
you won't register surprise when we 
all. Ann included, catch him sneaking 
out of Aline's room at an hour when all 
good children should be dreaming of 
Peter Rabbit. And stuff. 

Ann, who has "paid the prici 
running out with a rat like Mr. New- 
ton, accuses her sister of being no bet- 
ter than she. 

While they cry on each other's shoul- 
ders, Preston is downstairs, trying to 
force Lyle to crack the family safe for 
a hatfull of jewels that have been 
parked there by a pair of guileless I ?) 
divorcees, Glenda Farrell and Ruth 
Donnelly, who are returning horn 
a shuffle-off spree in R 

To save the baubles, Aline is obliged 
to shoot her b.f.. thereby making an 
honest, though dead, man of him. 

This story, by Leon Ahrains and 
George Abbott, will probably be n 
sible for a cycle of filling station tales, 
but, if Aline's in all of 'em, we can 
take it. 

Mervyn LeRoy's last directorial job 
before headin' for the last hook-up . . , 
matrimony, if you don't catch on. 

Ever Since Eve (Fox) 

NO cowbov trappings for George 
O'Brk 



Hoorah," the action moves from the 
gold country, to Park Avenue, and back 
to them thai- mountings again. 

Three old women-haters. Herbert 
Mundin, Roger Imhof, and Russell 
Simpson, have been watching over 
George ever since he was knee-high to 
a what-have-you. 

On a trip East to purchase more 
mining machinery, George meets and 
falls in love with Mary Brian, daugh- 
ter of an attractive but slightly in- 
solvent widow, played by vour old 
favorite. Betty Blythe. 

Marrying him for his money. Mary 
eventually learns to love her Tar/.an 
of the gold country. The thing ends 
happily, but not before they have 
played a hot and cold running game 
of you-chase-me and I'11-chase-you, 
winding up finally when Mary tal 

56 turn to /"';:. 




rien in this one. 
Paul Armstrong's story 



Taken from 
Heir to the 



The New Movie Magazine. March, 19SU 



You might not recognize either Ramon No- 

varro or Lupe Veloz in this picture but this is 

how you will see thorn in "Laughing Boy." 



17 




Wide World 
Pictured at the surprise party given in honor of Helen Mack, screen actress, left to right are: Dick Poliner, host, Vivienne 
Gaye, Billy Joy, Phyliss Lee, Edward Bodell, Gloria Monroe, Irene Thompson, Maria Hayden, June Clyde, Thornton Free- 
land, Helen Mack. The men in the back, extreme right, is Frank O'Heron. 

The Hollywood Younger Set 



DD you know the little girl with 
the curls we've seen all these 
years in that soap advertise- 
ment is Madge Evans at the 
age of eight? . . . Junior Durkin has 
decided to use one of those four first 
names of his, and from now on, will 
be known as Bide Durkin, Jr. . . . Just 
to let you know how important dog 
actors are out here, we found recently 
that the dog playing in a picture was 
receiving a higher "wage than both of 
the juvenile leads put together. And 
to top that, when the company went 
on location, the dog had to have a 
special bottle of drinking water, while 
the mere humans struggled along as 
best they could on the native supply. 
Helen Mack realized a life-long am- 
bition on her twentieth birthday, when 
her mother presented her with a mink 






By HENRY W1LLSON 




Frankie Darro shows Clark Gable the cor- 
rect way to make love to Claudette Colbert. 
Frankie is working on "No Greater Glory," 
at Columbia, while Clark and Claudette are 
making "It Happened One NTght," at the 
same studio. 




Wide World 
Dick Cromwell and his sister, Dorothy. 

coat — and a ear thrown in for good 
measure. ... It is surprising to hear 
how many fans will write to the stars 
for their photographs and then fail to 
bother writing a note of thanks. . . . 

FOUR years ago, two freshmen in 
high school decided that their 
greatest ambition was to play opposite 
each other in the movies. Algebra 
gave way to Plane Geometry, which, 
in turn, was succeeded by Trigonome- 
try, before the girl, Jean Parker, got 
her first break in pictures. And what 
a thrill! Xow, one year later, the boy, 
— Pancho Lucas, was discovered by the 
same studio and placed in his first 
picture, "Viva Villa." Jean's latest 
achievement is "Dark Sunlight," an 
R. K. O. picture, but it's now up to 
the home studio to make good the 
greatest ambition of Jean and Pancho. 

RICHARD CROMWELL is the most 
"dropped-in-on" person in Holly- 
wood. You see, Dick has lived here all 



his life, and everyone who ever knew 
him at High School drops in on him 
at " his little hillside home, where he 
lives alone. But they don't let it go at 
that. It seems that each acquaintance 
brings three other friends and intro- 
duces them to Dick, each of whom re- 
turns a week later with several of 
their friends — -and, — well, it's like one 
of those "chain letter" ideas. Xo kid- 
ding, it's worse than Grand Central 
Station on the 3rd of July! He's cer- 
tainly been swell about it, though, so 
far, but maybe pretty soon Dick will 
protect himself by hiring someone to 
scare 'em away. After all, he still has 
a lot of things to accomplish in his new 
home and deserves some privacy by 
this time. 

THE past couple of Sundays, Ernest 
Schoedsack (director of "King 
Kong," and others) has been taking 
Tom Brown, Helen Mack, Anita Louise 
[Please turn to page 91) 




Wide World 

Dixie Frances and James Ellison. 



18 



The Neic Movie Magazine, March, 193i 




CUtrnuv Sinclair Bmtl 



THE 
NEW MOVIE 
MAGAZINE'S 

GALLERY 
STARS 




DOROTHY MACKAILL— The Hull town 
(in England) knows she's British because 
they're proud of their pulchritudinous 
product. From the stages and screens of 
London and Paris flaxen-haired Dorothy journeyed to 
New York and graced the late Florenz Ziegfeld's 
Follies, before Director Edwin Carewe signed her for 
movies some dozen years ago. She's married to Neil 
Miller, who croons. Is an enthusiastic aviatrix. Loves 
to gamble. She's generous. Her pals include stage- 
hands, players, producers and the "four hundred." 
Adores Honolulu and hopes to live there some day. 



The New Movie Magazine, March, 19SU 



19 




Wriest A. BochracJi 




DOLORES DEL RIO— Senora of true Latin 
loveliness. Daughter of Mexico's distinguished 
banker, Jesus Asunsolo. She was educated in 
Mexico City, Paris and Spain, specializing in 
music and terpsichory. Her charm and grace attracted movie 
director on location in Mexico some years back. She yielded 
to Hollywood offer. And fans throughout the world appre- 
ciated her glamorous talents until her temporary retirement 
after her marriage a couple of years back to Art Director 
Cedric Gibbons. Now she has returned to the cinema swing. 
"Flying Down to Rio" displays her varied talents. The 
Gibbons menage is smartly modernistic. Dolores loves 
clothes, sun baths and Cedric. And of course her work. 



20 



The New Movie Magazine, March, 193 U 





MARY ASTOR — A beauty-contest winner who 
became a real trouper! Quincy, Illinois, is the 
lucky town which gave Mary to the world. Only 
then she was known as Lucille Langhanke — a 
mighty awkward moniker for one so lovely. So, when she 
won that beauty award, she changed her name to the flowery 
one now known throughout the world. She made her movie 
debut in two reelers for Tri-Art. Followed up with feature 
assignments for National — directed by her first husband, 
Kenneth Hawks, who met death tragically in airplane crash. 
Now married to Dr. Franklin Thorpe. Took brief time out 
to have Mary, Jr., now two years old. Prefers good char- 
acter parts to heroine roles. She enjoys all sports. 



The New Movie Magazine, March, 193 A 



21 




Garbo today and eight years ago. 
Above, as she appears in her newest 
M-G-M picture, "Queen Christina," 
her first release in more than a year. 
At the right is one of the most remark- 
able pictures of Garbo in existence, 
made on the M-G-M lot in 1925, 
shortly after her arrival in America. 



22 



The Neiv. Movie Magazine, March, 1934- 



YESTERDAY WITH 

GARBO 



Strange as it may seem, these 
pictures are all of the great Garbo 
herself, and you will find it hard 
to believe that they were all 
taken less than ten years ago. 








Left, Greta Garbo, learn- 
ing to ride "Beverly," the 
famous horse, in prepara- 
tion for her role in 
"The Temptress," at the 
M-G-M studios in 192). 



Above, right, an early 
portrait of Garbo as the 
Countess Elizabeth Do- 
lina, in her first stellar 
role in "The Atonement 
of Gusta Berling." 



At the right, one of the 
first pictures of Garbo in 
1923 when she was signed 
by M-G-M for "The 
Temptress." 



At the left, a double ex- 
posure picture of Garbo 
made by Buddy Long* 
worth, in which Garbo 
shows herself how to 
operate a studio light. 



The New Movie Magazine, March, 193 4 



23 





MARION DA VIES— Her real name is Douras. 

Papa Judge Douras is retired from the bench 

in New York, and that's where Marion was born. 

Blue-eyed comedienne acted in religious pageants 
in parochial school, modeled dresses, sang and danced in 
Broadway choruses, posed for Howard Chandler Christy 
and Harrison Fisher before screen debut in 1918. Looks as 
young and freckly now as then. She'll do "Operator 13" 
with Gary Cooper next. Loves to sew, dance, play bridge 
and grow gardens full of flowers. And she's so, so supersti- 
tious. Not married, but she is considered one of Holly- 
wood's most hospitable and popular hostesses. 



24 



The New Movie Magazine, March, 193i 




WMM DIANA WYNYARD— Her real name's Dorothy 
BJT j jj Cox, but her friends in London, England — her 
B ■» J birthplace — changed it for her when she started 
|L »^^P her stage career in 1925. Forty roles in stock 
preceded important break opposite Leslie Banks in "Lean 
Harvest." Then came Broadway — and the lead in "The 
Devil Passes," same role she had portrayed in England. 
M-G-M scouts saw her, signed her for "Rasputin" with the 
Barrymores. Option renewed and more movies! Next 
she'll join John and Lionel in "The Paradine Case." She's 
a talented pianist, reads a lot, rides horseback and swims. 
Her hair's golden-brown; eyes are gray-blue. Not married. 



The New Movie Magazine. March, 1934 



25 




EDWARD G. ROBINSON— Bucharest, Broad- 
way, Hollywood. That's alias Eddie Goldberg's 
. success story! Educated at Columbia University. 
^ ^^«^H Speaks Spanish, Italian, French, German, Hebrew, 
Yiddish, English and his native Roumanian with equal ease. 
Played first film role with Barthelmess in "The Bright 
Shawl" ten years back. Dropped out to devote himself to 
stage work exclusively until talkie time. Paramount tempted 
him, then dropped his option. Warners signed him for 
"Little Caesar" and the succession of important character 
roles which followed. Music is his chief hobby. His wife, 
Gladys Lloyd, plays and sings. He paddles the player- 
piano. Crazy about Eddie, Jr., who's nearly a year old! 



26 



The New Movie Magazine, March, 193 % 



THE 



New Movie magazine 




NOTHING BUT \ "' THE TRUTH 



Contributors this month — Clara Beranger, Darryl F. Zanuck, 
Grace Cunard, Ruth Chatterton and Carrington North. 



THE BOOMERANG OF PUBLICITY 



HTX THEN movie stars are on 
VV their way up the ladder of 
success, press stories concerning 
their private lives and personal 
habits give them a boost. In the 
past, publicity fed to avidly inquisi- 
tive fans proved of great value in 
increasing box-office returns. 
beranger But when the publicity turned 

sour, when stars became involved in 
scandals, the very people who helped lift them to 
fame quickly turned about and kicked them to the 
bottom of the heap into obscurity. 

Ever since pictures have had stars, headlines have 
shrieked the news of high movie salaries. For the 
edification of an enthusiastic world of movie fans, 
studios brazenly blew the trumpet of publicity and 
threw a spotlight on the earnings of their stars. 

But the world of movie fans in this day of depres- 
sion is no longer eager nor enthusiastic, it is envious 
and resentful. It does not understand that a star's 
worth is gauged by box-office returns. 

It blindly decides that no one could possibly be 
worth such large sums of money. And the Federal 
Government is by way of agreeing with the public. 
That high picture salaries are measured simply 
and solely by box-office value, that an artist's earn- 
ing power is limited to a few years and that the 
preparation for these few fat years takes many lean 
years of struggle and suffering, that creative talent 
is legitimately entitled to a fair share in the financial 
success of a picture. 

The studios have only themselves to blame for the 
distrust of the public and the Government. Publicity 
circulated to add glamour to their stars is again prov- 
ing a boomerang. 

And this time it may lower the financial returns 
of creative artists to the level of non-creative crafts- 
men, and tear down the whole structure of Holly- 
wood salaries. 



QIokc^ &(*a** 



£f 




DARRYL F. 
ZANUCK 



THE PICTURE IS THE THING 

SCREEN play production in 
Hollywood has been weathering 
a crisis which can only be defi- 
nitely overcome by the overthrow of 
the present system of producing 
pictures. 

The factory method of mass pro- 
duction, the product of which is the 
"program picture" designed to meet 
the weekly-change schedules of the 
big theater circuits, must go. 

My prediction is that the year 1934 will see the 
doom of mass production. Screen entertainment can 
no longer be turned out on a machine-made scale 
and find popularity. 

In the place of mass production will come the new 
system of building each production as a separate 
unit, so that in cast, story, richness of production 
and entertainment, each picture will be a big one — 
what we in the industry call a "special". 

The public wants big pictures, and even in these 
times will reward super-pictures with greater pop- 
ularity than even in the more affluent days of past 
prosperity. While it will still give a due share of 
favor to program pictures which merit popularity, 
the public has shown that in the case of the excep- 
tional picture, its support is unlimited. 

For that reason, Mr. Joseph M. Schenck and 
myself, as heads of 20th Century Pictures, have 
already abandoned the mass production system. 

Big pictures of course, cost more — but money is 
not the main consideration in the making of bigger 
pictures. The important thing is the planning of the 
picture in advance, building the story so that all its 
situations will have strong dramatic values, abun- 
dant entertainment, and the added adornment of 
showmanship. 

This story must be presented by a star supported 
by stars. Sufficient time must be given to the pro- 
duction and for the cast to familiarize itself with the 
story. That is the policy we have adopted, and 
which the whole producing system in Hollywood 
must adopt. 




The New Movie Magazine, March, 1?>34 



27 



Read New Movie's editorial forum where you will find frank expressions 
of opinion by contributors who know they will not be blue-penciled 



A STAR OF YESTERDAY 




E 



'IVING . . . and people . . . these 
fare the most important things 
in the world. 

"Nineteen years ago, when the 
spotlight of Fame piayed brightly 
on my every move, when wealth and 
success were unquestionably mine 
... I wouldn't have believed that I 
could be so completely happy out of 
things ; forgotten, except for a hand- 
ful of dear old faithfuls. 

Yet, this is true, I have found truer friends and 
more satisfaction out of just living, since Fame 
turned her nose up at me, than in all those prosper- 
ous years, when every hour of my days belonged to 
everybody but myself. 

In those days, when I was obliged to entertain 
hordes of celebrated people in the garishly gorgeous 
home that was an essential part of a star's fanfare, 
I didn't have half so much fun as we do now, in 
my little place, where the guest list includes a 
chauffeur, a song writer, a traveling salesman, and 
half a dozen extra people ! 

Instead of caviar and champagne, we have sand- 
wiches and beer . . . and loads of fun! Why, we 
really live ! 

I am still ambitious and enthusiastic about pic- 
tures. Occasionally, I get a small part and, when 
I'm finished, I'm not satisfied. I 'want to do more. 
It doesn't seem right to be going home when there's 
more acting to be done ! 

I have no illusions about playing ingenues. Char- 
acter parts are more to my liking. Wrinkles . . . and 
a few teeth out. I don't care how ugly they make 
me. Funny . . . these ambitions die hard, don't they? 
I've seen both ends of the ladder. The top, with 
its gaiety, brilliance, and noise, is nice. But — the 
bottom is so very comfortable . . . and not so far 
to fall!" 



JL 





CARRINGTON 
NORTH 



CENSORSHIP— BY WHOM? 

TTS a swell story, but we couldn't 
1 get it past the Hays' Office!" — 
"Sure, it's a whale of a play, but the 
censors would never pass it!" That 
song rings endlessly down the echo- 
ing halls of filmdom, though every 
man who sings it knows full 'well 
that if a picture is good enough or 
funny enough, it will reach the 
public. 

The Blue Noses would create a National Censor- 
ship and deal with all pictures in the same manner. 
They fail completely to discriminate between im- 
morality, common or garden vulgarity and the sin- 
cere frankness with which strong drama must deal 
with life. They would denature all amusement and 
make it food for children. 

There is only one answer. The theater of the adult 
and that of the child must be separated and the needs 
and desires of the child carefully considered in mak- 



28 



ing up his programs. Who is going to do this and 
what have they done to prove that they can? 

Personally, the most intelligent and efficient group 
I have ever encountered is a party of Senior Boy 
Scouts from a lower East Side division. These lads 
come to me several times a year for picture programs 
for the younger boys. They look me square in the 
eye as they refuse many of my suggestions.- "No, 
that's too raw." .... "Too much love stuff, kids don't 
like it." Scientific and travel stuff they simply eat. 
. . . Fair women and brave men, action, adventure. 
Their taste is sure, their audiences have to be pushed 
out of the Settlement House when the show is over. 
And it is a'l good stuff! 

Is it possible that here are the people to choose for 
children? Adolescence is close enough to childhood 
to know what a child likes, near enough to maturity 
to feel responsibility for the very young? 

Every high school and academy in the country is 
full of youngsters in their teens, youngsters awake 
and alive. They would enjoy taking a hand in this 
business of choosing their own entertainment and 
that of their immediate juniors. . . . And I, for one, 
think they would make a good job of it. 





RUTH 
CHATTERTON 



WHAT PRICE, BEAUTY? 

I HAVE been asked if the sacri- 
fices which actresses make in 
Hollywood to meet the beauty re- 
quirements of the screen, are worth 
while? 

It all depends upon one's view- 
point. 

If regarded sensibly, the "sacri- 
fices" are very much worth while. 
Strict adherence to the laws of 
health, which means enjoying a full quota of sleep 
and rest, eating only the proper food, abstinence 
from dissipation, daily exercise and work, can only 
result in a mental, as well as physical, stimulant. 

To meet the screen requirements of feminine love- 
liness one must rigidly observe these laws. Since 
the average woman is inclined to lapse into the full 
enjoyment of whatever luxuries life affords her, 
usually to her detriment, I honestly believe that the 
ascetic life one is forced to live in Hollywood, is 
worth the sacrifice of material pleasures. 

Unfortunately, it is true that many misguided 
young women have been sacrificed on the altar of 
the so-called beauty standards of Hollywood, due to 
extremely foolish diets, etc. Such cases are as 
unnecessary as they are tragic. 

Beauty is only skin-deep, after all. 




The Xeic Movie Magazine, March. 193U 






WHAT Keeps 
The Movies 
Going? 



The four heroines of the smosh 
hit, "Little Women." 





WHAT keeps the movies moving? 
An exact answer to this question would be 
worth millions of dollars to any one of the 
six or seven largest producers of pictures. 

They don't know, themselves, what keeps the mo 1 ie 
moving. 

You could make millions of dollars for yourself if 
you were wise enough to tell them, in advance, what 
will keep them moving. 

Why did you pay to see "Little Women"? 

Millions of you did pay, but why? 

Was it because Katharine Hepburn was advertised 
as the star? 

Was it because of the fame of Louisa Alcott's book'.' 

[iocs the success of this picture mean the return 
of cleanliness to the screen? 

If you can answer these questions — AND NOT 
MAKE A MISTAKE IX FOUR ANSWER— and if 
you can answer such questions before they are asked. 
can make money in the movies! 

The making of successful movies is the greatest 
guessing game in all the world. 

Hundreds of studio movie experts guessed, before it 
was put on the market, that "Little Women" would 
die the death of a dog. 

Every studio in the land had a chance to produce 
"Little Women." All but one of them turned il down. 
for the reasons given above. They laughed al il 
What! Produce "Little Women"?— a clean, old 

fashioned, harmless, meaningless story? It was In., 
absurd for words. 

It was one of the biggest laughs which the insiders 
in the movie business have ever had and it turned 
out to be one of the bippest hits! 



Can you tell the film pro- 
ducers in advance what kind 
of pictures will capture the 
public approval? If you can, 
you can make a fortune. 



J 



They were dead sure you would stay away from 
this picture by the million, but instead you paid to 
ii by the million. 

They remembered the terrible failure of "Peter 
Pan" which was just as sugary and sweet as "Little 
Women." They were jusl positive you would reject 
anything of the sort. 

But you didn't do it. ¥ou took it. to your heart and 
you crowded the theaters to see it. 

Why? 

Was it because of .Miss Hepburn? Was it be. 
of the old fame of the book by Miss Alcott? 

Was there something in the advertising which "got" 
you? 

The editors are very anxious to find out the real 
WHY. They would like to tell the movie-makers what 
you like and why. This would be a real service. 



This magazine will pay $50 for the best 
letter of not more than 100 words on WHY 
you packed the theaters to see "I ittle 
Women." And $10 each for the next five 
letters. In the event of a tic the same 
amount will be paid for each. 

Have your letter here on or before March 
first, 1934. Only thirty days — but that is 
time enough to give us your answer. 



The New Movie Magazine, March, 1984 



20 



The First SOVIET 




The burden of the world is in her eyes as Anna Sten looks 
at the streets where she is a hunted woman. 



The dramatic life story of Anna 
Sten, the unknown girl of war- 
torn Russia and how Samuel 
Goldwyn discovered her 

A woman's eyes looked out of the screen in a 
darkened projection room in Hollywood, and 
the editors of New Movie Magazine realized that 
they were spectators at an historic event in mo- 
tion picture history — the dawn of a new star. 
The occasion was the first private showing of 
the rushes of Mr. Goldwyn's new feature film of 
Anna Sten, the Soviet star of his discovery and 
development, in his sensational picturization of 
NANA, and the adjective "sensational" is not 
overworked. In its sheer drama of a woman's 
soul, the picture is breath-taking. Anna Sten 
is destined to rank as one of the greatest stars 
the screen has produced in all its colorful history. 
When you see her performance, as of course 
you will, you will appreciate just what we mean. 
And what is even more important than what 
Soviet Russia, in the person of Anna Sten, has 
contributed to American film history, is what 
American films have again contributed to the 
entertainment of the world in the daring of Mr. 
Goldwyn.— THE EDITORS. 



THIS is the way Anna Sten's story should 
start. And properly it is the story of a 
story. One Sunday morning a Hollywood 
producer was reading The New York 
Times. As he turned its voluminous pages his 
attention was attracted to the rotogravure pic- 
torial section. Suddenly his eyes gleamed. He 
looked at a certain picture more closely and drew 
a pencilled circle around it. 

The producer's name was Samuel Goldwyn and 
the picture that had riveted his attention was 
that of Anna Sten — the first Soviet star to come 
out of storm-driven Russia. Within twenty-four 
hours, Mr. Goldwyn's scouts were sent to Europe 
in quest of Anna Sten. And what they had to 
report confirmed his first visualized impression. 
This unknown girl who had weathered all of the 
throes of a Russia trying to find itself through 
a storm of blood was an actress who might some 
day be rated as one of the world's greatest. 

Promptly Mr. Goldwyn cabled, "Sign her up." 
Came the answer, "But she does not know a 
word of English." And Mr. Goldwyn replied. 
''Makes no difference. We can teach her." With- 
out the flicker of an eyelash he was shouldering 
an expense of fifteen hundred dollars a week — 
founded only on the conviction that he had found 
one of those rare women in the history of the 
world — a woman whose photographic acting 
could thrill millions. And you who know the his- 
tory of motion pictures know there have been 
very few. But Samuel Goldwyn is a showman — 



30 



The New Movie Magazine, March, 1934 



STAR 



Anno Sten as Nana at the 
climax of her artistic career, 
due to the genius of the 
man she could not love. 



(Below) Anna Sten as the 

impudent girl of the Paris 

streets to whom all men 

were legitimate prey. 





a sublime showman. He can see things which he can't 
explain in words. 

And he was willing to back with his nun money 
his judgment — which most people would have told him 
was crazy. So Anna Sten came to America and greeted 
the ship news reporters with only the few words in 
English which she could say with an efFort, while 
.Mr. Goldwyn waited for her in Hollywood to put her 
into a picture whose name he did not even know 
because he had not yet found it. 

And in the meantime he had contracted to pay her 
fifteen hundred dollars a week while she was doing 
her best to learn English and he was ransacking the 
earth for a picture to put her in. But that is Samuel 
Goldwyn. 



By the Famous Radio Reporter 

EDWIN C. HILL 



You would never know what story he found for 
her. You may never have heard of Zola Dor of Nana 
Maybe, he didn't — until the right picture synopsis was 
brought to his attention. And then he seized it — the 
soul-drama of a woman of the streets who through 
force of bitter circumstances works out her own tragic 
destiny. Fire — color — drama — the throb of a soul try- 
ing to find itself — Anna Si en could do it. But could 
she'.' Samuel Goldwyn was confident — confident with 
the ability of a creator who sees beyond man-made 
horizons. 

And SO he weld to work in the privacy of Hollywood. 
where in spite of all publicity nobody ever knows just 
what is really going on. And now. after two years, 
you may see just how far right or just how far wrong 
he was. Bui forgetting for the moment the Anna Sten 
picture let US look at the life story of the woman you 
will see in the film whose name may be one of the 
world's household words. It begins back in L910. 

In that year, in the ancient city of Kiev, on the 
banks of the Dnieper, a daughter was born to a 
Swedish mother and a Ukrainian father. The coming 
of the child interfered with (Please turn to pnete 83) 



The New Movie Magazine. March, 193 It 



31 




Wallace Beery Begins- 

MY LIFE 



UNTIL NOW 



As told to ERIC L. ERGENBRIGHT 



M : 




Wallace Beery as he is 
today and as he looked 
at the age of eleven, 
from a picture in the 
old family album. 



Y life's been a lot like a scenic railway ride — one continuous suc- 
cession of ups and downs. 

Four years ago, just before I played "Butch" in "The Big House," 
I couldn't have sold my screen prospects for a plugged nickel. To- 
day, with a contract that pays me the biggest salary I've ever earned, I 
may be excused if I find life very agreeable. As far as that's concerned, I 
always have, no matter what my situation has been. 

Lady Luck's been very kind — and I thank her for her socks to the jaw as 
heartily as for her smiles. 

I've been so poor that I couldn't buy half-soles for my one pair of worn-out 
shoes — and, by contrast, I've had nearly a million salted away. I've been a 
screen failure twice — and I've been a star three times. I've swung a pick 
with a railroad section gang — and to my sorrow, I've been a bank director. 
Ups and downs. A failure today and a success tomorrow! That's the 
show business — and that's life at its best, no matter what a man's job 
happens to be. 

I've been in pictures more than twenty years, which is just about four 
times as long as the average screen actor lasts — and I believe the reason 
I've survived so long is that I've never taken myself very seriously. I have 
a good "rebound." I've always taken things as they come, made the best 
of them and never wasted any time wailing over spilled milk or lost oppor- 
tunities. After all, it isn't what a man owns that counts; it's how much 
he enjoys living! What makes a difference whether a man's a screen star 
at $2500 a week or a ditch-digger at thirty cents an hour, provided he gets 
his share of belly-laughs every day? 

I've had more than my share of laughs, just as I've had more than my 

share of ups and downs. No matter what happens, I can never be poorer 

than I have been — so why worry? It's the downs that place a premium on 

the ups. Life's like a screen drama; it needs sharp contrasts 

to make it interesting and enjoyable. 

When I was a kid, my folks were as poor as church-mice. My 
father was a cop, pounding one of the toughest beats in Kansas 
City, Missouri, for less than a hundred dollars a month — hardly 
enough to keep the family in food, let alone clothes. We knew 
all about poverty — and we knew all about laughter. The Beerys, 
dirt poor as they were, were a mighty happy family. 

Until I was old enough to earn money of my own, I never 
had a suit which was bought especially for me. My father's 
cast-off uniforms furnished his sons' wardrobes. They were 
cut down, first for Bill, my oldest brother, then for Noah and 
finally, in a decidedly thi-eadbare condition, for me. 

I've always been glad that I was born and raised in a "tough" 
neighborhood, that my parents were unable to give me spending 
money and that I learned the necessity of work while I was still 
a youngster. I've always been glad that my father was un- 
sentimental enough to deal in hard-boiled facts instead of in 
theories 

I learned, almost before I'd cut my baby teeth, that this is a 
fighter's world, a place where a man must make his own way, 
take it on the chin if he has to, and never whimper. My father 
was a kindly, understanding man, in spite of his gruff "front,' 
but Lord, how he despised a whiner! He gave Bill and Noah 
and me more love than any one of us deserved, he was ready to 
sympathize with us in all our troubles, but he wouldn't tolerate 
any evidence of self-pity. And he never allowed his love to 



32 



The Neiv Movie Magazine, March, 1934 



The first authorized true life story from the man who has been 
the hero of one of the most remarkable careers in the films 




From the album of the Wallace Beery family. When the aunt of Mrs. Beery died, three children were left, 
whom Wally decided to raise. Reading from left to right, they are: — George, Carol Ann, and little Wallace. 



interfere with his sense of duty and justice. If he 
promised us a thrashing, we got it. We leai-ned that 
a man has to pay the price for his own mistakes and 
that last-minute pleadings and repentance won't lighten 
the penalty. That's a lesson which is better learned as 
a kid than as an adult. 

Thanks to our poverty, I also learned the value of 
a dollar — another lesson I've never forgotten. It's 
unjust, perhaps, but nevertheless true that the world 
measures a man by his bank account — even here in 
Hollywood where half of the population is perpetually 
ranting about "art for art's sake." 

Most important of all. I learned that the easiest 
way to get money is to work for it. 

It's only by accident that I'm a successful actor. A 
man's life road is so cut up by intersections, forks and 
by-paths that Chance invariably determines his desti- 
nation. But no matter where he eventually arrives or 
what the nature of his work may be, he's mighty apt 
to be happy if he's learned never to shirk a fight. 
never to whimper if he's whipped and never to cheat 
on hl6 job. 

The one gentle influence in my boyhood was my 
mother. She was happy enough with her own lot. but 
she was determined that her sons should have "ad- 
vantages." She wanted us to be refined, cultured, in 
short, to grow up as gentlemen. I'm afraid I must have 
been a terrible trial to her, 
it was a rare day that 
I came home from school 
without torn clothes or a 
black eye to prove that I'd 
been in a fight. 

She wanted all three of 
us to have fine educations, 
and all three of us disap- 
pointed her. Bill didn't do 
badly ; he finished high school. 
Xoah finished the seventh 
grade. I managed to race 



Wallace Beery Says: 

"I've been so poor that I couldn't buy 
half-soles for my worn-out shoes — and 
I've had nearly a million dollars salted 
away." In this unusual life story he 
tells you the intimate facts of the ups 
and downs that he has known 



through the third grade — in eight years — before my 
hatred of everything connected with school got the 
best of the promises I'd made to my mother. 

I played hookey for nearly three months before my 
folks found it out. Every morning I'd leave home 
with the rest of the kids, and every evening I'd come 
home at four o'clock. But, in the meantime. I was 
"riding the rods" on the Santa Fe and the Chi 
Milwaukee and St. Paul trains from Kansas City to 
their roundhouses in Sheffield, twenty-five miles away. 
A policeman, one of my father's friends, saw me and 
recognized me one day. Naturally he went to my 
parents and they started an investigation that soon 
revealed all the facts. I realized that I was in for 
trouble, and, for the only time in my life, I tried to 
dodge the issue. I ran away. 

I rode the rods to St. Louis. Chicago and, finally. 
to Mobile, Alabama. I slept in hobo jungles, pan- 
handled and did odd jobs whenever I could find odd 
< do. I remember stopping early one morning 
at an Alabama farm house to ask for a hand-out. A 
tall hatchet-faced woman came to the door, gave me 
one sour look and pointed to the wood shed. I got the 
breakfast, all right — but not until after I'd s 
enough firewood to last that family for the rest of the 
year. 

In all, I bummed for nearly two months. I was i 
big. overgrown kid. tough as 
they come, and I think I'd 
have enjoyed it if it hadn't 
been for thinking about my 
mother. I knew how deeply 
I must have hurt her and 
how worried she must be. 

One night in Mobile I 
went into a little restaurant 
to see if I could wash dishes 
for my supper. The woman 
who owned the place was 
(Pin' to page 72 i 



Movii Magazine, March, 193U 






Here's To Villa! 



WALLACE BEERY 




PaMcwo 

VlLLA— 




E 



WALLACE SMITH 

Wallace Smith has traveled to the far 
oints of the compass and has seen 
ife in every phase which he has trans- 
lated vividly with pen and brush. The 
reason why he has been able to trans- 
fer so glowingly to the printed page 
his conceptions of the characters in 
the M-G-M picture, Viva Villa! is 
because he has lived through all of 
its wild, stirring scenes. 



Pancho Villa, himself, the hero and one 
time dictator of Mexico, as portrayed 
by our own Wallace Beery. In a role 
that he himself would have selected 
as one of those best suited to portray 
his own inimitable personality as the 
dictator of the M-G-M stirring motion 
picture, Viva Villa! 



Drawings by WALLACE SMITH 



34 



The Neiv Movie Magazine, March, 193b 






A PICTURE STORY OF A REMARKABLE FILM 



LEO ORRILLO 




Fierro, the fire eater, as enacted by Leo Carrillo, in which role 
Leo does his fire-eating ancestor credit. 

Upper Left: — Don Philipe, his henchman, as enacted by- Donald 
Cook, with all of the characterization expected of the part. 

Pascal, who lives up to his name, as portrayed by Joseph 

Schildkraut, with all the concealed emotion one might expect 

from the character. 



The New Movie Magazine, March, 103U 



35 




MISTAKES 



A famous star gives her frank rev- 
elations of what her marriage and 
her career have taught her 

By JOAN CRAWFORD 

As told to Nanette Kutner 






36 



DURING the past few years I've made 
more mistakes than most people make 
during a lifetime. When you ask me 
to tell you about those mistakes, I 
grow dizzy. Honestly, I don't know which to 
select, there are so many of them. And yet 
... I am not ashamed because I've learned, 
learned a great deal. The real fool is the 
person who keeps right on making the same 
mistakes. 

I know this. ... I know when a mistake 
is not a mistake. My marriage to Douglas 
was definitely not a mistake. It was a beauti- 
ful experience. Only one who has been married 
can truly understand what I mean. 

But in my marriage to Douglas I did 
make two terribly grave mistakes. I'm 
sorry for those mistakes now, very 
sorry, but nevertheless I know that my 
future life is bound to profit by them. 
At the time we make our mistakes 
they usually seem reasonable and oc- 
casionally altogether unavoidable, but 
there is no justification in repeating 
them. People rarely burn themselves 
twice in the same way. and so a second 
marriage can only benefit by the mis- 
takes made in a first. 



During my marriage to Douglas the biggest 
mistake I made was not being possessive enough. I 
had watched, with growing loathing, the horrors in 
the lives of others who selfishly are too possessive. I 
had seen too many marriages, in Hollywood and else- 
where, fail because of a possessive wife or a husband 
or a mother. 

"The Silver Cord," with Laura Hope Crews' un- 
forgettable and marvelous portrayal of that posses- 
sive mother, impressed me to such an extent that 
I went to see the play twice and the picture once. 

I even made up my mind that if I should ever 
have a child, when it reached the age of eleven, I 
would deliberately send it away from me. When I 
was only eleven I had to fight my own battles in 
this world. I had to work my way through school. It 
didn't hurt me, either. I believe that independence 
hardens you, gives you courage. 

And so" in my life with Douglas I firmly determined 
to avoid possessiveness. The funny part, and I 
guess it was pathetic too, was that no matter how 
much I wanted to possess him, I just wouldn't allow 
myself to do so. Very often when the feeling was the 
strongest, I acted the coolest. After all, acting is 
my business, and when I (Please turn to page 73) 

The New Movie Magazine. March. 193U 






BLOND 
DYNAMO 



None other than our own 
Jean Harlow and just as 
bewitching as ever. Her 
new M-G-M picture is to 
be with beloved Marie 
Dressier and what a title 
to live up to — "Living in 
a Big Way." 




The New Movie Magazine, March, 1 !>■!', 



37 






The LOVE STORY 



By 
DOROTHY 
MANNERS 



Gary Cooper in on 
of his ■favorite roles, 
the Llano Kid in "The 
Texan," and below, 
Gary with his bride, 
Sandra Shaw, a' 
ready for a canter, 







Wide World 



38 



The New Movie Magazine, March, 193U 



of GARY COOPER 



The hero of "The Virginian" enacts in real life the 
romantic role which made him famous, and fties 
across the country to win the society girl of his choice 



DO you remember the romantic story 
of "Tin' Virginian," that classic of 
Owen Wister's, of the cowboy who 
came out of the great open spaces 
to woo and win the society girl who seemed 
so far out of his reach, and whose patrician 
family had to pass upon his merits before 
they would sanction the wedding? 

Well, that was the first motion picture 
which won Gary Cooper lame, and at the 
time he was acting it little did he dream 
that the day would come when he would be 
essaying the role of the hero of the film story, 
in real life. 

But that is just what has happened in his 
tempestuous romance with the tall, gray-eyed 
girl whose professional name is Sandra 
Shaw, from the bluest blood of Park Avenue 
in New York City. 

Like Owen Wister's beloved hero, the origi- 
nal "Virginian" whose film enactment by Gary 
Cooper made thousands of feminine hearts 
flutter, Gary, the tall, lean, rather shy, one- 
time cowboy of the western ranges laced the 
ordeal of inquisition by the relatives of the 
yrii-] to whom he had given his heart. Un- 
like Hie original "Virginian" he came from 
Hollywood to New York by the most modern 
means of transportation, the airplane. 

He could not wait for more prosaic means 
pf travel. He flew from coast to coast and 
in those hour.s high above mountains and 
rivers who can say what trepidation and 
uncertainty were in his heart at the pros- 
pects of the reception that would await him 
Upon his landing? 

It was "The Virginian" come to life out 
of the pages of a great novel and out of the 
reels of a great motion picture, but it was a 
hero just as vibrant with human emotion 
and just as much in love with the girl of his 
choice and just as willing to stake his all on 
the chance of winning her. 

Since it was the film of "The Virginian" 
which first started Gary Cooper on his way 
to success, it is sentimentally fitting that his 
paralleling the plot in real life should climax 
one of the most talked about love romances 
of Hollywood. 

Gary Cooper has been one of the most dis- 
cussed and one of the most sought after 
bachelors of the film capital. Many persons 
have tried to explain him — both men and 
women but none with any degree of success. 
And finally those who knew him best were 
on the point of abandoning the analysis and 
resigning themselves to the fact that Gary 
had a bachelor heart impregnable to the ar- 
rows of Cupid. 

When love did (Please turn to page 75) 

The New Movie Magazine, March, li)-ih 




Gary Cooper and Sandra Shaw in Hollywood just before 
took off by plane to await him for their wedding. 



World 

she 



30 



HOLLYWOOD'S 

ROARING 40 



s 



Clarence Bull 



May Robson 



BACK in the Victorian age; in fact as late as the beginning 
of the World War, a woman was practically through at 
forty. If she was a wife and mother she was expected 
dutifully to settle down to a peaceful life of cooking, 
sewing and general housekeeping, with only the hope of a re- 
newed youth beyond Peter's gates. But though thus condemned 
to the ash heap it was admitted that within themselves women 
of forty still had ideas, unexpressed inhibitions, suppressed fol- 
lies ! They termed it the dangerous age. 

To use a familiar quotation, much water has passed under 
the bridge since those days — and much dynamite has exploded 
in all directions! Traditions have been blasted. Age-old laws 
blown to Purgatory. A new moral code erected. Women have 
successfully gone into business, have taken to smoking, and 
have even donned trousers ! 

Not only did the emancipation of women take place in the 
world of affairs — but an even greater and more visible change 
has taken place in the women of Hollywood. It may truthfully 
be said that Hollywood through its medium of reaching so many 
millions of people has helped to speed the acceptance of the new 
woman in the modern age. 

In this gradual evolution of type, the ideal age, which every 
woman coveted, climbed from sweet sixteen to the rounder 
number of thirty. Pickford's j-outhfulness went out of fashion 
completely with the rise of Garbo to the Hollywood throne. 
Garbo represented woman in the full bloom of her life ; sophisti- 
cated, wise, mysterious, enticing. Even Mary Pickford realized 
this when she renounced child roles. Women were no longer 
ashamed to be thirty, and show it. In some cases if they looked 
younger they deliberately added on years with heavy make-up. 
longer skirts, and a blase expression. 

All very well for the women under thirty-. But what about 
the women who were already sighting forty — discovering fifty 
— finding themselves in the shallow harbor of sixty, from which 
no ship turns back? 

To this question there seemed to be no answer. Then Marie 
Dressier played "Marty" with Garbo in "Anna Christie." and 
overnight became the national idol. The barrier of vouth was 



40 



By 

RAMON 

ROMERO 





Billie Burke 
Above, Louise Dresser 
The New Movie Magazine, March, 193i- 



The dangerous age that some women 

are achieving opens the new gates of 

fame in the city of the cinema 



. 




Mary Boland 




broken : the autumn of life ideal- 
ized on twenty-five thousand motion 
picture screens. Old ladies' homes 
became the new talent hunting 
grounds of motion picture scouts, 
and millions of American homes 
were suddenly paying attention to 
Grandmother, wondering if they 
had another Marie Dressier in the 
family! 

The vogue was set — and along 
came Alison Skipworth, Edna May 
Oliver, Beryl Mercer, Henrietta 
Crosman. May Robson, and the 
late, lamented Louise Closser Hale 

But forty was an age that Hollywood had slighted. 
Millions of women drifting hopelessly in the mid- 
stream of life, wanted representation on the screen, 
wanted a voice with which to speak their new found 
sentiments; a voice with which to shout from the 
housetops of the world that forty was no longer the 
dangerous age. 

Years ago, yet not so many at that. Broadway 
roared at Mary Boland's antics in "The Cradle 
Snatchers" and "The Torch Bearers." In both she 
played flighty women half way through life. The 
Great White Way acclaimed her a star. 

While ingenues and leading women looked on in 
envy, Mary Boland watched her name grow larger 
and larger in the fickle electric lights. In spite of her 
success however, Hollywood made no bids for her 
services. Not that Mary Boland cared much. 

She had made a few silent pictures which she re- 
members as dismal failures. In those days she tried 
to be, oh so dramatic. And in those post-nickelodeon 
days she was too old to play anything but character 
parts, even though she was in her thirties. Audiences 
liked their heroines coated with sugar B. T. ( Before 



Alice Brady 



Blossom Seeley 

. Talkies^ when "Salvation Nell" was 

still the model heroine — and the 
matter-of-fact Boland could imitate 
anything but pastry. At that she 
called it quits. 
*'' Came a depression — and Broad- 

^B way went hurdy-gurdy. Ambitious 

push-cart peddlers from Herring- 
Row stood out in front of dark, 
empty theaters and sold shoe laces. 
or something almost as bad. The 
storehouses of Manhattan were 
filled to the ceilings with rotting scenery. Funeral 
wreaths' were literally being hung out on once busy 
box offices. The Boland eyes looked West— almost 
illy. 
Paramount beckoned with a juicy contract— and 
Mary gave in. It was not the first time in her life 
that someone had said to her, "you can be had." 
(note: please credil Mae West)- but it was the most 
significant. 

Her second debut in motion pictures was as dif- 
ferent from her first as a pickle is from a water- 
melon. At that, her first debut was a pickle, as sour 
as vinegar could make it. But. as you know, the 
watermelon has borne seeds. It's ;i silly comparison, 
I admit, but then isn't Hollywood success sort of silly, 
too? No logic at all — just luck and circumstances 
and changing conditions. 

That's what Mary Boland calls this new found 
glory; luck and circumstances and changed condi- 
tions. Luck, because the Broadway slump happened 
just about the time that Paramount had a part open 
in which they thought she would be magnificent. 
If a manager had offered (Please turn to page 79) 



The New Movii Magazine. March, i>::\ 



41 




Cary Grant 
submits to the 
ever-pressing 
demand for 
autographs. 



42 



ONCE AN 

ACROBAT 



The story of Cary Grant who ran away 

from home, became a tumbler, and 

finally ended in the movies with his 

name in electric lights 

By HARRY B. BLAIR 



SOMEWHERE in New York City, right off Columbus 
Circle, the landlady of a rooming-house is holding a 
trunk for non-payment of rent. The trunk belonged to a 
penniless young actor called Archie Leach, who doesn't 
exist any more. In his place is the handsome, confident Cary 
Grant of the films, the sleek, well-groomed young screen 
personality whose sunny countenance suggests a life singu- 
larly free from all worldly care. 

Yet such is far from the case. Can- Grant has known 
what it is to be without friends, money or even a place to 
sleep. Not for one day, but many weary weeks on end. 
Grubbing occasional meals at the National Vaudeville Club. 
Listening to the dreary, droning "nothing doing today," in 
the daily monotonous round of the casting offices. 

I knew Cary in those days and he was just as handsome 
and capable as he is now. A little more eager, perhaps. 
Taking it on the chin like the real man that he is. 

After being ejected from his lodging house, he sought 
the comforts of a park bench and an occasional hand-out. 
Yet, somehow, he always managed to keep up appearances. 
Then a kindly disposed agent, (there are such) by the name 
of Jimmy Ashley, let the ambitious youngster sleep in his 
offices, over the Winter Garden, on Broadway. Jimmy Ashley 
has since gone on to his reward, but his memory still lives 
in the grateful heart of Cary Grant. 

It was this same agent who got him a part in "Oh, Mamma," 
a forgotten musical which never reached Broadway. How- 
ever, it meant making the jump from vaudeville to musical 
comedy for Cary and convinced him that, given the right 
opportunity, he might develop into a real actor. 

The previous Summer he had tramped the length of Coney 
Island's famous boardwalk, perched on stilts, a living ad- 
vertisement for Steeplechase Pier. To his credit, let it be 
said that he is not ashamed of this fact and has never sought 
to hide it. 

Back on Broadway for the fail theatrical season, he landed 
atmosphere work in one of the R. H. Burnside extravaganzas 
which helped to make the old Hippodrome famous. That, too, 
was a step forward in Cary's transition from acrobat to actor. 
For it was as an acrobat that he first came to America, a 
dozen years ago, after running away from his home in 
England. 

The only son of a Bristol tailor, his mother had died when 
he was eleven years old. Neither of his parents had any 
connection with the stage although his grandfather, Sir 
Percival Leach, was famous throughout Great Britain as an 
actor. 

A friend of the family was stage electrician at the Bristol 
Hippodrome and it was through him that young Archie 
Leach, who was later to be re-christened Cary Grant by Para- 
mount Pictures, got his first {Please turn to page 82) 






The New Movie Magazine, March, 1934- 






WELCOME BACK 



LILLIAN 
GISH 



You might be surprised, Miss 
Gish, to know how many 
thousands will cordially echo 
the sentiment, "Greetings!" 
when they see your outstand- 
ing performance in your new 
Paramount film, "His Double 
Life," and realize that you 
have come to take your 
place again as one of the 
beloved stars of pictures. 




Above, Miss Gish as the heroine of the film 
version of Arnold Bennett's "Buried Alive," re- 
named "His Double Life," released through Para- 
mount; and left, a dramatic situation from the 
picture, with Roland Young and Lumsden Hare. 



The New Movie Magazine, March, 198k 



43 



I call DacTPete/'says 




The brilliant son of 
a brilliant father tells 
frankly just what the 
two have meant to 
each other 



Douglas Fairbanks, Jr., declares, "My father has meant 
everything to me." Young Doug is shown here just arriving 
to do "Success Story" for RKO. 

IT is a wise father that knows his own child." leers 
Shakespeare in one of his Elizabethan "Follies" 
black-outs. But wiser yet is the son who really 
knows his father. Few do. 
The fictionally pictured father-and-son relationship 
is rare as desert rain, for the sad and simple reason 
that the two enjoy no interests in common. Witness 
the blight with which dear old Dad's presence clouds 
a youthful gathering. And note the embarrassing 
gaiety of the Old Grad, and the bored, pitving con- 
descension of the youngsters at the frolic following 
the Big Game. 

With Mother and the girls it's different. Women 
all, they scheme, design and connive against man, the 
common enemy. But the "stout feller" comraderv of 
father and son exists only in the sentimentalities of 
the much-read Warwick Deeping. I certainly thank 

44 



heaven, my boyhood was free of it! 
Yet my father was a typical boyhood 
idol. As a very young man he married 
my mother, Anna Beth Sully. He was 
only twenty-five when I was born. He 
had been in the theater since his eigh- 
teenth year. My first consciousness of 
life established him as a Big Shot. 

He was a hero out of Alger — good- 
looking, daring, athletic, popular, success- 
ful. In an abstract, impersonal way 11 
adored him. 

Of course, I took him quite for granted, 
never a childish thought as to his whys 
and wherefores, but I was proud that in 
some mysterious way he was connected 
with the household. 

I was pointed out as his son. I basked 
pleasurably in reflected glory. I never 
recall a time when his words and pic- 
tures weren't published. It seemed per- 
fectly natural for him to be Head Man. 
And in reality he was ruler of a realm, 
the glamorous monarch of the movies. 

Among the kids, there were those who 
were a bit hazy on kings and presidents, 
but nary a one but that knew Douglas 
Fairbanks. I was certain he could lick 
all other fathers. And after seeing him 
slay a hundred villains on the screen, 
ather sons enviously agreed. He was 
something to brag about. Never but once 
did he let me down. 

One day at the studio we met a profes- 
sional track athlete, "the fastest human" 
of all time. There was much talk about 
his prowess, and I, certain that the super- 
man who came to our house each evening 
could best any opponent at anything, 
urged my father to show up this pretender. But to 
my chagrin there was no race. Then, as now, Holly- 
wood was shy a sense of humor. 

I recall wondering vaguely why my father wasn't 
President. I think I decided then that it couldn't be 
such a desirable job, or that maybe this famous father 
of mine hadn't the time to bother with it. Perhaps 
these little incidents convey an idea of what my father 
meant to me when I was in the confused mental state 
that occurs with a voungster's first consciousness of 
life. 

I imagine that in those days my father was rather 
fond of me. I don't believe he was hard ridden by 
paternal instinct. But I, too, was something to brag 
about. He had that strange masculine pride in the 
offspring created in his image. My mere being was 
flattering to him. He liked showing me off, like a 

The Neic Movie Magazine, March, 1934 



nothing and 
in Hollywood 



Doug Fairbanks, Jr 



The editors have asked me to say 
something on the recently revealed situa- 
tion existing between Mary and my 
father. It is a condition about which I 
know next to nothing as it has always 
seemed to be none of my business, and I 
have kept my nose out of it. Any com- 
ment from me about it would seem, to me 
at least, presumptuous. 

Consequently, I know I will be forgiven 
for my silence. 

(Signed) 




bench dog born and bred in the home kennels. And. 
like a prize pup, to be handed over to the grooms when 
the association palled a bit. 

We had our romps together, though. He displayed 
a proper, if somewhat casual, parental interest in my 
educational beginnings and general welfare. lie pro- 
vided, and correctly presumed that I had the best of 
everything. And he didn't permit the accident of 
fatherhood to interfere too greatly with his design 
for living. He was, after all, a man of affairs. 

From my tenth month to my tenth year, he unsel- 
fishly included me in four European jaunts. Then 
came one of those all too common, unavoidable adult 
situations that so tragically influence juvenile lives. 
My parents separated. To me the immediate result 
was the abridgment of my brief association with my 
father. 

Of course, we visited together upon occasion, but 
the occasions grew less frequent. The slight bond of 

The Netv Movie Magazine, March, 1934 




"My father will now find out for the first time that I 
know his failing for stealing my ties," confides 'Jayar.' 

Mary Pickford announces that she will start a stage 
career in a new Broadway play in which she will star. 

home intimacies was definitely severed. From that 
day to this we have led distinct and separate lives. 
Since then months, indeed years, have passed without 
more than a casual glimpse of each other. 

I went to school, had tutors, and continued to be 
Douglas Fairbanks, Junior — a title I came to abhor. 
But everywhere I continued to hear and read of him. 
He remained one of the "Three Musketeers," a "Robin 
Hood." a "Thief of Bagdad," one of the Olympians. 
Of course he influenced my choice of a career. His 
mere existence did that. With a father's footsteps so 
plain to follow, a son would have been ridiculous to 
look further. And if further argument was necessary, 
his violent objection clinched my determination. 

He objected as only Douglas Fairbanks can. There 
was no common ground for argument and reason. I 
failed utterly to visualize him as the lad of yesterday 
who had leapt from a school-house window in answer 
to the call of a spring day, and he never returned. 
He wasn't to me the adventurous kid who sailed from 
Europe on a cattle boat. He was just the Old Man 
of the Tribe, once removed. What he said was spin- 
ach — and to hell with it ! 

Wisely, and fortunately for me, he stuck to his guns 
as I did to mine. Thus I was denied affiliation with 
his company, and the coddling protection of the par- 
ental wing. I stood squarely as possible on my 
own two feet. Naturally. {Please turn to page 77) 



45 



NEW PICTURES You 




A famous writer gives you his frank opin- 
ions of the most talked about films and 
players of the month. You may not agree 
with Mr. Van de Water but you will admit 
he has the courage of his convictions. 

By FREDERIC F. VAN DE WATER 



SOME day, some intelligent leader in the film in- 
dustry is going to learn that movie audiences 
are intelligent, too. After that happens, all 
pictures will be better than most of this month's 
offerings. In addition, the leader who makes this dis- 
covery is going to make a lot of money. 

To Hollywood, the average picture-goer in this over- 
patient land is still a gum-chewing, adenoidal, pop-eyed 
innocent with nothing worth mentioning between his 
eyebrows and his bald spot. That's why calamities like 
"White Woman," "If I Were Free," "Gallant Lady," 
"The Chief," "Flying Down to Eio" and "The Worst 
Woman in Paris" happen. 

The film industry still cherishes a nickelodeon frame 
of mind. 

It overlooks the fact that the people who, a quarter 
century ago, flocked to a made-over livery stable to see 
a novelty are only remotely related to the millions who 
now give many millions yearly to be thrilled or amused 
by picture plays — and too frequently are disappointed. 

Audiences have changed much more than the pic- 
tures they see. Audiences today present a complete 
cross section of American intelligence — and American 
intelligence, in spite of moans by Henry L. Mencken 
and others, is considerably above the average of the 
rest of the world. The picture racket hasn't found that 
out yet. 

Much of the improvement in films has been wholly 
technical. Lighting is finer; photography is better 
and there's the sound track, too. Apart from these 
advances, two out of every five picture plays still 
resemble something made by Vitagraph in the heyday 
of Harry Morey. 

Jack Holt, an excellent actor, still is doing nickel- 
odeon stuff — with sound. His "Master of Men" proves 
it. As able a cast as you could wish to see takes that 
stage hit, "The Vinegar Tree," and by spasms of over- 
acting, turns out something called "Should Ladies Be- 
have." Why was this photoplay half ruined by the 
violent cavorting of the cast? None of them would 
have burlesqued her role or his role on the stage but. 
you see, unless points are over-emphasized, they might 
be missed. Movie audiences are so dumb. 

We aren't so dumb. We are amazingly patient, but 
we aren't stupid. We suffer in silence through linear 
miles of misused celluloid but we are stirred, probably 
more easily than any other people on earth, by even 
a faint flavor of that greatness of which moving pic- 
tures are capable. 

We absorb vast amounts of tripe — not because we 
like it but because we get it. That doesn't make 
us dumb. 

Who discovered "Three Little Pigs?" Not the film 
company which twice denied Walt Disney's wish to 
make it. Not the advance ballyhoo, for there was none. 
We, the movie audience, identified it as one of the most 
perfect bits of nonsense in the world. 

"Henry VIII" and "Little Women," both films that 
appeal to intelligence, are enormous hits. The three 



46 



best productions this month — "Counsellor at Law," 
"Dancing Lady" and "His Double Life" — are successes 
because brains went into them. Everyone concerned 
with each of these pictures gave the public credit for 
intellect and appreciation of art. Only three outstand- 
ing films in a month among so many which vary from 
pretty fair to terrible, is no great compliment to 
picture-goers or picture-makers. 

All that the mute and patient movie audiences hopes 
for is something that stimulates brain and heart as 
well as eyes and ears. 

We hope for it so persistently and we get it so 
seldom. 




Greta Garbo as Queen Christina of Sweden, but Mr. 

Van de Water says the role of queen doesn't fit her. 

What do you think? 

Queen Christina — A 

Directed by Rouben Mamoulian. Released by M-G-M 

HPHIS picture is about one-half as good as all the 
■*• advance whoop-de-doo said it was going to be — 
which still leaves it a good picture. It has passages 
of real beauty and power. Its defects aren't the fault 
of any single person. The responsibility for them must 
be borne by all concerned. 

"Queen Christina" is not the greatest of Greta 
Garbo's characterizations. I'll probably be lynched for 
saying so, but Miss Garbo is actually an actress of 
definite limitations. The role of a Seventeenth Cen- 
tury Queen of Sweden simply doesn't fit her. Majesty 
is beyond her. 

She moves through this film with the smoldering 
grace of a sulky cat and only in her love scenes with 
the Spanish Ambassador (John Gilbert) she displays 
that glamour which has won her such immense fame. 
Miss Garbo can portray the love-smitten or world- 
weary woman exquisitely. As a monarch who domi- 

The New Movie Magazine, March, 193i 






Should See and Why 



MR. 


VAN 


DE WATER'S CLASSIFIED 


RATING 


OF 


CURRENT FILMS 




(AA 


— Outstanding; A — Good; 


B— Fair; 


C- 


— Average) 


AA 






Silling Prttl, 






Son of o Scifor 


Counsellor at Law 
Oonong Lady 
His Double Ufm 






Hi* /nvmbfe Man 

B 

A. ice in Wonderland 






Should lad-ei Behave 
Take a Chance 

c 

Firing Down to Rio 


A 






Going Hollywood 






Gallant Lady 


Advice to the lovelorn 






If 1 Were Free 






The Chief 


Convention City 






Mailer of Men 






The Wont Woman in Pan's 


Girl Without a Room 






Roman Scandals 






Whtte Woman 



nates a turbulent court, she is less successful. 

Mr. Gilbert, however, comes out of his long eclipse 
most satisfactorily. He was one of the screen idols 
whom the talkies threw into the discard. After long, 
involuntary exile, he got this opportunity to return 
to films only after a number of leading men had been 
tried out with Miss Garbo and had failed to satisfy her. 
The star has reason to be proud of her selection for 
Mr. Gilbert acts with skill and seems wholly com- 
fortable in Seventeenth Century raiment. 

The rest of the cast are less at ease. When you put 
the average inmate of Hollywood into a costume, he 
begins at once to declaim and nothing sort of an act 
of God can stop him. In "Queen Christina," the Al- 
mighty has not seen fit to intervene, and often the 
characters recite their lines a little like students in 
a course of public speaking. 

The film is intelligently, if not elaborately staged. 
Mr. Mamoulian's direction is adequate — and no more 
than that. 

High Spots: The love scenes between Miss Garbo 
and Mr. Gilbert. . . . The unfurling sails on the ship 
that is carrying Christina into exile. . . . The super- 
close-up of Miss Garbo's face at the picture's end. 

Sore Spots: The long and ponderous speeches. . . . 
A mob ranging the streets of Stockholm with never 
a woman rioter among their hundreds. 




John Barrymore in "Counsellor at Law," has never risen 
quite so high in all of his movie roles. 

Counsellor at Law — AA 

Directed by William Wyler. Released by Universal 

TPHIS drama of a few violent days in the life of 
*■ a criminal lawyer is one of the reasons so many 
people still go to the movies. It's better to suffer 
under many bad films than to miss so splendid a photo- 

Thc Neiv Movie Magazine, March. 19S4 



play. In "Counsellor at Law." acting, setting and story 
all are hallmarked by intelligence and the skill of the 
director has blended them into triumph. 

You'll forget. I think, while you watch events in 
the office of George Simon 'John Barrymore) unfold 
before you, that these are mere shadows on a screen. 
The speed and power of the picture will pull you into 
its drama, almost bodily. That is all the movi. 
stage or any form of art can do for its followers. 
"Counsellor at Law" is something to make even the 
violent critic of the films hush his noise. 
It would be difficult to praise all the members of an 
almost perfect cast as much as each deserves and be- 
sides, being cinema actors, excessive tribute might em- 
barrass them. Mr. Barrymore, Bebe Daniels as his 
adoring secretary and Doris Kenyon as his spoiled and 
selfish wife give flawless performances. Furthermore, 
no picture ever has had bits of character, atmosphere 
and humor more deftly handled by minor actors. 

John Qualen as "Breitstein." a reformed crook, has a 
three-minute appearance that should be remembered 
for at least three years. Vincent Sherman as a 
youngster suffering from an overdose of Communism 
is memorable too. So are a half dozen more. 

John Barrymore, in all his countless movie roles, has 
never risen quite so high. As the crafty lawyer who 
later is bedevilled by threat of disbarment, he reiterates 
his right to the title of the screen's foremost character 
actor. Next to him, probably. William Wyler deserves 
the loudest hosannah for direction as close to per- 
fection as anything human can be. 

High Spots: Simon, confronted by the ghost of his 
own past crookedness. . . . MacKadden (John Damnum 
Dailey) explaining to Simon how disbarment pro- 
ceedings may be averted. . . . Simon dragged back 
from the brink of suicide by the chance to defend 
a steel magnate's son against a murder charge. 




Charlotte Henry is lovely in "Alice in Wonderland," 
the film loses much of the charm of the book. 



but 



17 



The Most Fearless and Honest 



Alice in Wonderland — B 

Directed by Norman McLeod. Released by Paramount 

IF Lewis Carroll, author of "Alice in Wonderland," 
had ever heard of movie rights, he might have done a 
poorer book that ■would have made a better film. The 
picturization of his nonsense classic only shows that 
words still can do things to the imagination that the 






J E4r 



w 



Eddie Cantor in "Roman Scandals," and there is going 
to be a big difference of opinion about how funny he is. 

cinema, so far, can't acc-Omplisii. It is unexplainable, 
but nevertheless true. 

There isn't anything really wrong with the celluloid 
"Alice in Wonderland." It is as faithful a transcrip- 
tion of the book as anyone could expect. There certainly 
is nothing wrong with the film's Alice, beautifully 
played by Charlotte Henry. The settings are excellent 
and the cast is composed of most of the present stars 
in Hollywood and a lot of old timers whom we used to 
know long years ago. like Alec B. Francis, Ford Sterl- 
ing and Mae Marsh, as well. 

The fact is that Carroll's dream story is something 
that can't well be transferred to film. It is jumpy and 
inconsequential and defies dramatic treatment. Fur- 
thermore, three quarters of the actors and actresses 
speak their parts from behind masks. You don't ap- 
preciate how important a thing facial expression is 
until there isn't any. 

"Alice in Wonderland" turns out to be more of a 
marionette show than a movie. For children or those 
who still love the book, there will be many moments 
when it will seem as though Tenniel's illustrations 
actually have come to life. 

There are other bits that will rouse the indignation 
of Lewis Carroll worshippers — the backward paddling 
duck with a steam whistle voice in the mock-turtle 
scene; trees playing their branches and supplying 
music; the presence of a large black octopus in the 
walrus and carpenter sequence. 

For the person who hasn't read "Alice in Wonder- 
land" at all, much of the film will be just plain 
boresome. 

Roman Scandals — B 

Directed by Frank Turtle. Released by United Artists 

NO one is going to get a prize for originality as 
far as this film's story is concerned. It is merely 
a Roman variation of "A Connecticut Yankee in King 
Arthur's Court." 

Eddie Cantor plays a delivery boy who dreams that 
he is a slave in the time of the Emperor Valerius. 
There are magnificent settings, a stirring chariot race, 
several songs and a lot of humor, some of it good. 



Mr. Van de Water's Awards of Merit for 
UNSTARRED EXCELLENCE 

(Citation of unfectured players who this 
month gave outstanding performances.) 

UNA O'CONNOR, for her innkeeper's wife in "The 

Invisible Men." 
MARY ASTOR, fcr her hard-boiled saleswoman in 

' Convention City." 
STERLING HOLLOWAY, fcr his goofy office boy 

in "Advice to the Lovelorn." 
THE NAMELESS JAP, for his truly comic gardener 

in "Should Ladies Behave." 
JOHN HALLIDAY, for his human man-about-town 

in "The House en 56th Street." 
JOHN O^ALEN, for his frightened crook in "Coun- 
sellor at Law." 
VINCENT SHERMAN, for his wild-eyed Communist 

in "Counsellor at Law." 
MAY ROBSON, for the deaf old grandmother in 

"Dancing Lady." 
NILS ASTHER, fcr his villainous husband in "If I 

Were Free." 
WALTER CONNOLLY, for his fat financier in 

'M ester of Men." 
LUMSDEN HARE, for his art dealer in "His Double 

Life." 
NED SPARKS, for his movie director in "Going 

Hollywood." 




This querulous citizen is not wholly qualified for the 
art of film reviewing — which makes him even with 
most of his colleagues. Among his handicaps is the 
fact that he is unable to laugh, unless tickled violently, 
during most of the various antics of movie 
comedians. 

To the vast majority that considers Mr. Cantor un- 
failinglv funnv, "Roman Scandals" probably will be a 
delight.' Even to the benighted who can take him or 
leave him alone, there is much to recommend this 
picture to your attention. There would be more if the 
film were several hundred feet shorter. It is too slow 
in getting under way. It drags deplorably at the start. 
But the staging is grand, the songs are good and there 
is real beauty and skill in the ensemble numbers. 



Bing Crosby and Marion Davies in "Going Hollywood." 
Some good music, but are the movies going vaudeville? 



4": 



The New Movie Magazine, March, 193£ 



Picture Reviews of the Month 



The plot, what there is of it, deals with the effort 
of Cantor, tin- Roman -la the British princess 

Sylvia (Gloria Stuart) fmm Valerius (Edward 
Arnold). The cast includes Ruth Btting, the radio 
star, in a blond wig. 

Even with the applause of a pre-view audience ring- 
ing in my ears. I still think the picture is only one- 
third as funny as everyone else says it 

High Spot-: C ;intor singing "Well ISuild a Little 

Home" . . . The pursuit of the fleeing lovers by the 

Emperor's charioteers. 



His Double Life— AA 

Directed by William DeMille and Arthur Hopkins. 
Released by Paramount 

THIS dismally renamed version of Arnold Bennett's 
play. "Buried Alive" is anything but dismal, apart 
from its inane title. It is high comedy, finely directed 
and in it Lillian Gish and Roland Young do some of 
the most delightful and skillful acting you are likely 
to see on stage or screen this year. The film is also 
significant because it marks the return of Miss Gish 
to the screen ; and it can be said without exaggeration a 
triumphant return. 

In this film story of a genius who feared publicity 
so much that he took the name of his dead valet and 
married the lady with whom the valet had been corre- 
sponding, Arthur Hopkins, the theatrical producer, 
takes his lessons in movie directing under the guidance 
of the veteran William DeMille. By the result. Mr. 
DeMille is a good guide and his pupil an apt student. 

Mr. Young, creator of so many mentally retarded 
characters, does the best work of his career as the 
shy, high-strung painter of great pictures. His is a 
part in which the temptation to overact is great. Mr. 
Y'oung plays with delicacy and insight and a touch of 
inspiration. 

Lillian Gish's role is just as praiseworthy. And she 
has achieved that which to most actresses would be 
impossible — a return to conquer anew the fields in 
which she reigned as mistress when only in her teens. 
This could not be unless she were born an artist. As 
the practical, calm minded Mrs. Hunter whom Priam 
Farrell (Mr. Young) married, she plays her role with 
a clear and lovely simplicity which rouses laughter often 
close to tears. She has the art that can fill the words 
of a simple line like "What difference does it make?" 
with sheer beauty. 

The rest of the cast is more than pood, notabh 
Lumsden Hare, who brings distinction to the small 




I an art dealer. The direction has the deftness 
of experience and intelligence. The result of all this 
i- a picture you should nut miss. 

High Spots: Parrel] attending his <>» n funeral at 
Westminster Abbej and weeping for himself. . . . 
ParreD'a wife repelling obnoxious eaDen by perfect 
serenity. . . . The nightmare quality of the trial scene. 




Lee Tracy again as the reporter in "Advice to the Love- 
lorn." And there is only one Lee Tracy who can do it. 



Adolphe Menjou in "Convention City." He is a high- 
pressure salesman in one of his best roles. 

Should Ladies Behave — B 

Directed by Harry Beaumont. Released by M-G-M 

THERE is more than enough acting in this to fill 
a couple of films. Despite the presence of Lionel 
Barrymore, Alice Brady, Conway Tearle, Katherine 
Alexander and Mary Carlisle in the cast, most of the 
acting is just plain bad. 

Here, for once, is a story much, much better than 
the performances of those who portray it. The script, 
adapted from the stage success "The Vinegar Tree," 
is good and filled with fine situations. All these are 
not lost, but they are marred by the cast's resolution 
to play cartoons instead of characters. 

Lionel Barrymore can overcast less offensively than 
anyone else in Hollywood. As Augustus, a grouchy 
old husband of a younger, silly wife (Alice Brady >. he 
does a reasonably good job that might have been better 
if it were more normal. All Miss Brady needs during 
much of her performance is a custard pie to make 
her characterization pure Mack Sennett. Miss Brady, 
an actress of high talent, should be the least bit 
ashamed. So should Katherine Alexander in the part 
of her much married sister. 

When the cast tires of working so hard and behaves 
naturally. "Should Ladies Behave" is dramatic and 
moving. Stub moments are too far apart to make it 
more than a fair film. Mr. Tearle as the fickle bache- 
lor, Max. is less jittery than his associates and Miss 
Carlisle turns in a sincere performance. Only a short 
year ago, she was a fat-faced white-haired youngster 
of no visible talent. Now she is beginning to take 
on the outline of an actress. 

A .lap. hailed in the film as Tokio, does a clever, 
amusing bit as a gardener. No credit is given him 
in the list of the cast and the home office of M-G-M 
has no information concerning him. Apparently he 
just walked into the film by accident. It is a pity 
he did not stay in longer. 

High Spots: Augustus trying to persuade his daugh- 
ter, Leone (Miss Carlisle) not to elope with the elderly 
Max. . • The farewell of Winifred (Miss Carlisle) 
to Max, her former lover. 

(Phase turn in page 85) 



The New Movie Magazine, March, 19.34 



49 



CI 



ass 



With 



a 




Snotty Melbourne 



Kay Francis in the new Warner Brothers picture, "Wonder Bar," 
which stars Al Jolson. 

What type of play do you think is best 
suited to Kay Francis? Do you agree 
with the answer that Miss Janis gives? 



By 
ELSIE JANIS 




T 



50 



1 HIS morning the 
local papers carry 
an interesting 
item about films. 
"Kay Francis to play 
the role in Mandalay 
that Kuth Chatterton 
refused. Chatterton 
tired of playing 
bad ladies." 

The announcement goes on to say that 
Ruth's husband, George Brent, will play 
with Kay in Mandalay. 

By the time you read this, Mandalay 
will probably have become Labrador, 
Janet Gaynor may be playing the over- 
advertised heroine while Baby LeRoy re- 
places George Brent as the leading male 
interest. Such is the ever-changing Holly- 
wood crazy quilt of casting. 

I sincerely hope that whatever the pic- 
ture eventually is, Kay Francis will be 
given a role into which she can really get 
her flawless teeth. It seems to me 
that outside of One Way Passage (in 
which she was grand) Kay has been 
handed a lot of roles that someone must 
have refused to play. 

The Kay Francis that Warner Brothers 
thought fine enough "star stuff" to lure 
from Paramount two or three years ago 
should be sitting on the top of the heap 
by now, but it can't be done by casting 
her as leading lady opposite a man whose 
brow barely reaches to her aquiline nose, 
even if that brow belongs to a great 
actor like Edward Robinson. 

I remember well my first reaction to 
Kay when I watched her trailing around 
the Paramount Studio in 1929. I say 
trailing because as they were busy mak- 
ing her into a vamp they naturally 
swathed her in black slinky creations, 
quite overlooking the fact that some of 
the best home-wrecking is done by blue- 
eyed baby dolls in organdie wrappings. 

My personal observation to myself was, 
"She doesn't even look like an actress, 
much less a villainess. She looks like a 
Junior League girl turned professional 
and so far it's only a half turn." 

I asked people about her, who she was, 
where she came from. No one seemed to 
be quite sure. They didn't appear to care 
a great deal. I met her, liked her low 
husky voice, and by her manner of speech 
was more than ever convinced that some- 
where there must be a family regretting 
that Kay had stepped from under what 
families invariably call "every advantage 
a girl could ask for" to become an actress. 

The New Movie Magazine, March, 1934 



Capital KAY 



Elsie Janis lunches with Kay Francis 
and takes you behind the scenes of 
Hollywood to interpret the girl who 
has seldom been given the right 
role to show what she can do 



Worse still, a movie actress. I don't know to this 
day if my mental frame fitted the picture. I've never 
even asked her where she came from. The fact that 
she came and is a friend of mine is, as dear old Sam 
Bernard used to say. sufficiency ! 

Paramount was too occupied with the business of 
satisfying Ruth Chatterton, Clara Bow. Jeanette Mae- 
Donald. Chevalier, George Bancroft and many others 
to pay much attention to the Junior Leaguer, so she 
went along adding a dash of studio-made menace to 
this and that film. They admitted that she was a 
"comer" but they had too many "goers" on their 
hands to concentrate on the slim, chic Francis. 

Came a day when I sat in an executorial office and 
heard Paramount'* side of a conversation with War- 
ner Brothers, who wanted to borrow Kay Francis for 
a picture. I watched the Francis stock soar as they 
discussed terms and, above all, what sort of part 
she was to play. 

"We will have to see the script," said Mr. Para- 
mount. "We can't afford to take a chance on Francis 
not getting a part worthy of her." Shhhh! You 
mustn't laugh at that point, but if you don't think 
I nearly choked, you're not thinking. 

It was finally arranged, after the script had been 
doctored, to give Paramount's rising star all that 
Paramount had not given her. Kay was again cast 
as the menace over at Warners, but the tendency to 
take care of something borrowed is a natural one. 
so they not only paid attention to her personality, 
they took a borrower's inventory of her possibilities. 

Kay returned to the home lot from pastures new. 

Today, there exists what is amusingly called a 
gentleman's agreement which prohibits holding up 
the borrower for more than a certain amount over 
the salary of the player in demand. Back in the 
good old pre-code days, anything a studio could get 
for an artist was profit, and therefore actors and 
actresses were literally not sure where their next 
salary- was coming from. They did hear of their sal- 
aries mounting like skyrockets while they remained 
holding the bag which eventually turned out to- be 
a bunch of firecrackers. Hence the gentleman's agree- 
ment. Don't think the ladies were not equally inter- 
ested in bringing it about. 

Almost before anyone could tell whether the ink of 
the gentlemen's signatures would prove to be in the 
red or black, Warner Brothers staged their famous 
raid on Paramount. Ruth Chatterton. William Powell 
and Kay Francis moved their make-up kits, box-office 

The New Movit Magazine, March, 198U 




Yes, this is Kay in spite of her gray hair which, it must 

be admitted, is most becoming. You will see her thus 

in "The House on 56th Street." 

values and protests about unsatisfactory roles over 
to Warner Brothers. 

Frankly I expected great things, knowing that Para- 
mount's personal milky way of stars had gone a 
little sour and that Warner Brothers really needed 
names and personalities. I have been disappointed. 

Can't you just see the Warner Brothers calling a 
special meeting (which, when they all get together, 
looks like a convention) in order to formulate a plan 
of action that might eradicate this great wrong? 
With Forty-Second Strict. Gold Diggers of 1933 and 
Footlight Parade pinned, like veritable medals, on 
their managerial chests, they should worry about what 
I think. Nevertheless. I'll keep right on thinking and 
oddly enough what I think. I say. 

Because Ruth Chatterton once played Madam, X 
magnificently, there has been one long series of sin- 
ning women allotted to her. Usually she grows old 
under the strain of a youthful misdemeanor and 
spends several reels getting even with someone. Ruth, 
the most delightful of comediennes, has met more 
grown-up love children in the last reel of more 
tragedies than is good for any gal. 

Bill Powell, because he made a hit by playing a 
super-smart detective is back again clearing up mys- 
teries. The great one is still unsolved. Why can't 
he just play nice guys in good stories? Kay Francis, 
who is about as perfect an example of what the real 
and regular American girl should be. plays practically 
everything but that. 

The expression, "well bred." should be handled with 
rubber gloves and I wear mittens, but having met 
girls all over the world whose antecedents and back- 
ground demanded that label (Picas, turn to page 84) 



51 




LOSE-UPS 



A Chinese 



Cameraman 
Wins Fame 




JIMMY WONS HOWE 



JIMMY WONG HOWE is his name, 
** and he isn't any bigger than a min- 
ute. Something like four feet ten. He is 
the first Chinese cameraman in Holly- 
wood, and one of the best. He 
came to this country from China when 
he was only four. 

When about sixteen he drifted away 
on his own, caught in the wanderlust of 
youth. By Chinese magic he got to 
California — and in Hollywood he met 
an old schoolmate who had become a 
cameraman for Mack Sennett. 

One day he saw this friend shooting 
pictures on the street — and when he saw 
how easy it was to just grind a camera 
while a lot of figures jumped around in 
front of it, he then and there decided to 
become a cameraman. 

Miraculously he was 
given a job immediately By RAMON 
as an assistant camera- 



man on one of Cecil DeMille's pictures. 
Later he began to experiment with still 
pictures, making a few of Mary Miles 
Minter, who was then in the heyday of 
her stardom. So nattered was she by the 
results that she demanded Jimmy Wong 
as her next cameraman. But so fright- 
ened was he by the assignment that he 
refused to embark so soon on his own. 
The executives then gave him the choice 
of grinding on Miss Minter's next pic- 
ture or taking his hat out of the door 
for keeps. Jimmy stayed. 

Today he holds a contract with Metro- 
Goldwyn-Mayer that pays him one of the 
highest salaries of his profession. Stars 
fight for him. Directors hold up pic- 
tures to obtain his services. Studios try 
to borrow him. But engulfed in the 

Tjhilosoohv of his fore- 
ROM ERO fathers he takes it with 

calm and a twinkle. 



The Mother 

Confessor of 

Hollywood 




REV. LISA MAE GREY 



THEY call her simply Mother Grey. 
But she is the "Mother Confessor" 
of Hollywood. She is a handsome 
woman with ruddy cheeks and reddish 
hair. Her smile can be the sweetest this 
side of heaven. 

Into her ears are poured untold se- 
crets of Hollywood, hungry longings, 
haunting sins. Sometimes she cannot 
cope with the strange entanglements 
into which people have twisted their 
lives — but it is known that she has led 
many celebrities through their darkest 
moments to the peace that survive. 

She has a daughter who is an actress, 
prominent both in Hollywood and on the 
New York stage. Her son is an orches- 
tra leader and radio entertainer in one 
of the gayest dime-a-dance Emporiums 
in Lcs Angeles. Her sym- 
pathy for theatrical folk is By WEST 
therefore something that 



is exceedingly close to home. 

Her activities are not confined en- 
tirely to her little storefront Forum on 
Sunset Boulevard. Recently she has 
taken over the little white church in 
Laguna, the art colony of the coast — 
and among her new converts are many 
artists, writers and others engaged in 
creative work. 

She goes on many missions of mercy 
in the environs of Hollywood; carrying 
food to the hungry, aid and consolation 
to the sick, cheer to the depressed. 

She works like a Trojan, untiringly; 
heedless of time and the toll that the 
work demands of her strength. Her 
workers claim that she is a human 
Niagara Falls in energy. She loves 
praise. It is her only way of knowing 
how successful she is in 
WORTH her efforts toward making 
other people happy. 



The Champion 
Spinner of 
Tall Stories 




ROBERT L RIPLEY 



BELIEVE it or not, Robert L. "Be- 
lieve It or Not" Ripley has journeyed 
through 167 countries in the interests 
of his extraordinary art — discovering 
seemingly impossible things and situa- 
tions which actually exist. 

The gentleman hails from Santa Rosa, 
California. He never took a drawing 
lesson in his life, but sold his first car- 
-. .. &•: the ire :■: :;ur:eer_. 

The "Believe It or Not" cartoons were 
born in 1921 when their creator got 
tired of cartooning sports figures and 
decided to use his head a bit. 

On his staff Ripley now employs a lin- 
guist, two readers, a secretary and six 
assistant research workers. His personal 
mail averages 4,000 letters a day. 

He's a pleasant looking man of medium 
height, this modern Marco 
Polo. He's just out of his By IRENE 
thirties, and somewhat 



heavyish. Maybe you'd think that on 
account of the nerve-racking nature of 
his work, he'd be a finicky sort of indi- 
vidual 

But not "Believe It or Not" Ripley. 
He's gay, and a spiffy dresser, and he 
loves a good time, and he enjoys a good 
gabfest. 

Among the Ripley facts are: 

"Lindbergh was the 67th man to make 
a non-stop flight over the Atlantic Ocean 
("proving that Alcock and Brown made 
a non-stop flight between Newfoundland 
and Ireland in 1919.)" 

'Tanama hats are not made in 
Panama." 

"A Bhutan woman gave birth to a bov 
at the age of 82." 

"August the Strong, King of Saxony 
and Poland, was the father 
THIRER of 3-54 children. Can you 
beat these? 



52 



The New Movie Magazine. March, 19ZU 



Personalities of Hollywood you seldom hear about. One is a dealer in 

midgets and giants, another sets the fashions for millions of women, 

another is a girl who is bound to be an actress. 



DOI POWERS i- a "freak expert." 
Any time a studio needs a fat lady 
or a giant or a fire eater or a few mid- 
gets or a bearded damsel or anybodj 
from the freak world, they call on 
Doc Powers. 

For years he has specialized in sup- 
plying such creatures for stage and 
• n entertainment. The freak busi- 
isn't what it used to be, but Doc- 
keeps pretty busy. 

Doc Powers, incidentally, is J. Donald 
Powers, and of course, not a doctor at 
all. He hails from Lafayette, Indiana, 
and started his show-business career 
thirty-five <>r SO years back with Doc- 
Voucher's medicine show. 

Doc Powers quit Voucher eventually and 
joined up with another outfit. While 
playing a small town 
in Louisiana, he attended By RALPH 
the funeral of a colored 



As the body was lowered into the 
ground, Powers, who had mastered the 
art "f ventriloquism, threw his voice 
into the grave, saying "Let me down 
t-asy, boys." The peace was disturbed. 
I '. i Powers was arrested and haled to 
court and fined five dollars. After the 
court session, the judge was so amused 
at Doc's story of what happened that he 
handed him back his five bucks. 

Reams of publicity followed. And Doe 
Powers capitalized on his new-found 
popularity and became a ventriloquist in 
a California side show. That's where he 
had his initial contact with the freaks 
he now manages. Besides supplying these 
people to the movie studios, he obliges 
once in a while by accepting a film role 
— as a magician or a medicine man, or a 
ventriloquist. He can 
MORTON perform card tricks, eat 
fire, and do other stunts. 



If You Need 
a Freak, Call 
Doc Powers ! 




DOC POWERS 



YOU have heard of Adrian, who has 
made Hollywood the new fashion cen- 
ter of the world. Great stars owe much 
of their popularity to his genius. A 
studio pays him a star's salary to dress 
Garbo, Norma Shearer. Jean Harlow. 
Joan Crawford. Marion Davies and other 
women who are as prominent. 

The real Adrian is an elusive, evasive 
young dreamer who seems always to be 
wrapped up in fantastic musings. His 
friends will tell you he is a splendid 
story teller with an excellent sense of 
humor. 

It was he who modernized the Em- 
press Eugenie hat for Garbo, who wore 
it first in "Romance." Three months 
later millions of women were copying 
her. He experimented again with 
Garbo, who likes any- 
thing that is distinc- By HAL 
tively different, and de- 



signed a little pill-box hat for her to 
wear in "As You Desire Me." 

Upon its release it got laughs every- 
where from the audience. But again 
the women took up the style, and soon, 
everywhere, they were wearing small, 
flat hats on top of their heads. 

When "Letty Lynton" was shown 
and the clothes Joan Crawford wore 
were seen for the first time, something 
happened to the ready-to-wear industry. 
Puff-sleeved models flooded the mar- 
ket, and within a week fifty thousand 
potential Letty Lyntons were seen on 
the streets of New York City. 

When not designing clothes Adrian 
is busy interior decorating. Recently 
he has opened a little shop in Holly- 
wood, and his novel furniture is begin- 
ning to find its way into 
HER RICK the homes of some of 

the biggest stars. 



He Decides 

Fashions for 

the Stars 




ADRIAN 



X/lOST people think that — so far as 
*■**■ Hollywood goes— Cinderella is out 
of style. But there's the exception 
proving every rule. 

Take Irene Hervey. Irene has never 
been on the stage, she has never played 
extra parts and she's only appeared in 
two films, in both of which she's played 
featured roles. And. guess what? She 
has no pull and she's nobody's girl. 

Finishing high school, she thought 
she'd like to go into the movies. Lots of 
other girls have thought the same but 
Irene got there. 

She decided to concentrate on M-G-M 
because they have the biggest stars and 
she intended being a big star. She had 
never applied for work on any other lot. 

A young man sitting in the casting 
office with her one day 
started a conversation. 
When Ben Piazza, cast- 



By ROBERT YOUNG 



ing director, came out, the young man 
jumped up and introduced Irene and 
asked Piazza to talk to her. He told her 
to take some lessons and he'd put her in 
their school for young actors. 

At the end of the eight months, sin- 
went back to Piazza. Not having seen 
her for some time he had forgotten all 
about her. "By Jove!" he exclaimed 
when she came into his office, "you're 
just what I've been looking for. We 
need a girl exactly like you for the part 
of Franchot Tone's wife in 'Stranger's 
Return.' " 

Irene's performance more than justi- 
fied her faith in herself and the chance 
the studio gave her. They put her un- 
der contract and now she is playing her 
second part — a big one — in "The Women 
In His Life." The fu- 



She Wanted 

a Job in 
the Movies 



ture looks 
and Irene 



very bright 
very lovely. 




RENE HERVEY 



The New Movie Magazine, March, 1934 



53 



Film folks who may be new to you — two of them make prehistoric 
animals — and one is a hermit — and another played a long shot. 



They Make 

Monsters 
That Breathe 




JOSEPH DAMAN 
GEORGE H. MESSMORE 



The Curious 

Hermit 
of Hollywood 




DAMAN and Messmore are as close 
as Damon and Pythias. Both gave 
up illustrating careers some sixteen 
years back to become associated in the 
business of designing and building ani- 
mated beasts and objects for the films. 
Sometimes they have as many as a hun- 
dred helpers working on the construc- 
tion of one monster. Artists, sculptors, 
draughtsmen, electricians, seamstresses 
— workers in metal, papier-mache, fab- 
rics and fur are on the payroll. 

"We'll make anything the movies 
want," Joseph Daman declared as he put 
the finishing touches on the four-feet- 
tall head of a gentle little thing called 
"Tyrannosaurus," which rises thirty 
feet from the floor and moves about, and 
opens and shuts its monstrous eyes, and 
gnashes its six-inch teeth and groans. 

"We made a twenty-four- 
feet-high saxophone for the 
Warner Brothers, large 



enough to hold twenty human beings. 

"And we made the 'King Kong' 
gorilla for RKO, and all sorts of other 
strange things. We don't, however, 
deal only in giant figures. We can create 
anything from an insect to a mam- 
moth. We can animate anything. And 
we do. Nothing is impossible in our 
factory." 

Daman and Messmore are known 
throughout the world not only as manu- 
facturers of prehistoric monsters, but as 
skilled inventors. 

It was George H. Messmore who dis- 
covered another material to use in place 
of real ice during the making of movie 
thrill scenes. Although it may look to 
you as though the hero and heroine are 
ploughing their way through fearful ice 
breakers, they're doing no such thing. 
Both men have been highly 
praised by scientific centers 



CniTLJ AkiCC piaiaeu uy bciguljuu 

by bUIIrl AMbb a ll over the world. 



PETER THE HERMIT 



MEET Peter the Hermit. He lives 
in a one-room shack in one of Hol- 
lywood's romantic canyons, far from the 
madding crowd. A dog is his only com- 
panion. He comes to town every day to 
mingle with that same crowd on the 
congested Boulevard. He has long white 
hair that blows prettily in the wind, and 
makes him look like a prophet from Bib- 
lical days. He has a long white beard, 
too. 

No one has ever seen him in his 
stocking feet because he hasn't worn 
socks in years and years. He walks 
about in open sandals as if he were on 
his way to Jericho. He is usually clad 
in short, white ducks. 

He is said to be anywhere from 
seventy to a hundred — but it is certain 
that he is at least seventy summers 
young. He breathes health 
anc vigor. He has the D n a I 1 1 
laughter of a child and the By KAUL 



strength of a giant. Of the hundred 
and twenty million people in the United 
States he probably felt the depression 
less than any one of them. He lives from 
day to day, and from hand to mouth — 
but he has found the blue bird of hap- 
piness. 

He never works, except at living a 
healthy life in the open. Money is the 
least of his worries. Among the great 
personalities of Hollywood he ranks 
with Chaplin and Pickford and Garbo. 

Peter has no use for hypocrisy. Peo- 
ple say he is a show-off sometimes. But 
they don't understand that he is selling 
his idea of a healthy life to a lot of 
shrivelled-up bodies. If everyone could 
grow old as beautifully as Peter, what a 
world this would be to live in! 

His bronzed, healthy body is his joy 

and delight. He says it is 

MDPTnM ^ e temple of our souls and 

INVJK I ^JiN we m ust make it beautiful. 



He Gambled 

For a 
Screen Career 




AN ax flew through the air. Nar- 
rowly, it missed a tall, broad- 
shouldered, lanky figure, who ducked be- 
hind a bar. The ax, edge first, struck 
a table — and split it. 

Again the air was filled. This time 
with a chair. It struck the head of a 
drunken cowpuncher — the one who had 
thrown the ax. The cow hand fell to 
the floor unconscious. 

This short, fast moving incident 
nearly cost Hollywood one of its youth- 
ful actors — Harrv Shafor. 

Late in 1930 Shafor left his Detroit 
home for Jackson Hole, Wyoming. With 
only $12 in his pocket, and practically 
stranded in a spot once notorious as a 
bandit and cattle rustlers' rendezvous — 
Shafor made a desperate decision. He 
would stake his last few dollars against 
the skill of the gamblers 
that infested this wide- 



couldn't take enough away from them 
to finance a trip to Hollywood and a 
lengthy stay there. He became a famil- 
iar figure around the gambling joints. 
The ax-throwing incident was the out- 
come of one game in which Shafor was 
the heaviest winner. 

On another night, incidentally his last 
at Jackson Hole, Shafor managed to get 
on to the signals of some of the profes- 
sional gamblers and walked away from 
the table with enough money, which, 
was sufficient to take him to Hollywood 
and tide him over at the film capital for 
at least three years with careful man- 
agement. 

In Hollywood a friend introduced him 
to Gilmor Brown of the Pasadena Com- 
munity Playhouse, and he gained admit- 
tance to the ranks of that institution's 
players, many of whom 
have graduated into 



tiiai niicsLcu ciiia vviuc- n ICklDV k CIKIC nave ^lauuaLeu 1 11 uu 

HARRY SHAFOR open town and see if he By ntlNKY M. hi INC prominence in the films. 



54 



The Neiv Movie Magazine, March, 193-1 



HO LLVWO O D 
FASH I O IV S 



"It's clothes like these thot male a man 
propose." soys Una Merkel. 




"After he's proposed, it's trim, conservative, well-made out- 
door clothes that help keep him from proposing to any one 
else." For country walks, Miss Merkel chooses the black-and- 
white tweed coat (above) and for early-spring street wear, 
Mainbocher's double rever coat of brown flecked tweed. 



The New Movie Magazine, March, 193U 



55 



EVENING CLOTHES FOR UNA MERKEL 

Parma violet silk net with a sash of dull jade green. "It's too sophisticated 
for a girl in her teens," says Una Merlcel, "but it's worth growing up to 
wear colors like this. What a charming dress to wear," she said, holding 
out the shirred insets and ruffles of tulle. "But what a task it would be 
to make!" Costumes shown on this page ore from I. Magnin & Company, 
throughout California. 





"I just love this dress," said Miss 
Merkel when she selected this Biancini 
flowered taffeta. "The long, full, 
rustling taffeta flounces make a girl 
look like a lady whether she feels 
like one or not." New features of 
this early-spring evening dress are 
the two crisp ruffles posed at the 
front of the bodice and repeated at 
the bouffant hemline. Miss Merkel 
is featured in "The Women in His 
Life," with Otto Kruger and Ben 
Lyon, an M-G-M production. 






56 



The New Movie Magazine, March, 193 4 



"A low-cut back is aiwoys 
so much more interesting 
when the dress is cut high 
at the front," Una an- 
nounced as she appeared 
in her new mulberry 
crepe Louise dinner frock. 
"Don't you love the neck- 
ace of velvet pahsies 
across the front — and 
these new sleeves?" 




"Now I feel like Empress 
Josephine," she said — but when 
you see Una Merkel in this love- 
ly Empire evening dress you 
are sure that Napoleon never 
would have cast her aside for 
Marie Louise. It's white satin 
with gold thread embroidery 
made with two huge loops over 
each shoulder. The gold leaf 
bandeau, worn high on the 
head is in keeping with the 
Empire style of the dress. 




Tin New Movit Magazine, March. 193U 



57 




Watch for Lilian Harvey in "1 Am Suzanne!" with Gene Raymond. You will see Otto Kruger next in "The 

Women in His Life." 

The PEOPLE'S Academy 




Robert Montgomery in "Fugitive 
Lovers" — an M-G-M production. 

Speak Up, Buddy! 

Corsicana, Texas. 

Where, oh where, can the incompar- 
able Buddy Rogers be? I eagerly await 
the New Movie Magazine each month, 
hoping to find a picture of him, or 
news of his return to the silver screen 
definitely. 

What happened to his brilliant and 
colorful career seems to have been the 
inevitable, but I've been unable to com- 
prehend just why it should be so, due 
to the fact that he was one of the box 
offices' biggest attractions. 

In my opinion, he is not a genius and 
far from being the most clever actor, 
but his inimitable personality and origi- 
nal charm seems to be lacking in most 
of the other actors. 

I would like nothing better than to 
see Buddy Rogers and Claudette Col- 
bert teamed together in a good picture. 
My guess may be far from correct, but 
I believe my wish is "unanimous." 
T. Garrett, 
102 N. Beaton Street. 

You never know when you may be 
right. At any rate you have an interest' 
ing idea. 



An Ohio Critic Speaks 

Toledo, Ohio. 
The public may change its favorite 
often, but a few performers of real 
merit remain year after year. Among 
these are Ann Harding and Norma 
Shearer. With these are players well 
known to movie fans, who, however, 
are of more recent fame, such as Miriam 
Hopkins and Elissa Landi. But my 
highest praise is reserved for Sylvia 
Sidney, whose poignant sweetness sur- 
passes that of any other star. Give us 
more pictures like "Madame Butterfly" 
and "Jennie Gerhardt" with Sylvia Sid- 
ney as the leading lady every time! 
Ileen Edelman, 
611 Lagrange. 

We are just as much for Sylvia as you 
are. She is a real artist. What do the 
other fans think? 



wm 



The People's Academy of Motion 
Pictures 'sponsored by THE NEW 
MOVIE MAGAZINE) will present 
twelve gold medals for what the 
readers of this magazine consider to 
be the twelve outstanding achieve- 
ments of the year 1933 in the films. 
Letters from our readers, carefully 
tabulated, will be the sole guides to 
these awards. 

These letters may be addressed to 
either The People's Academy or to 
the Dollar-Thoughts department of 
this magazine, 55 Fifth Avenue, 
New York, N. Y. 

You are the judge and the jury. 
Write us what you think. 

The medals will be given for the 
following: 
1 — Best all-around feature picture 
2 — Best performance 'actress) 
3 — Best performance 'actor) 
A — Best musical picture 
5 — Best human interest picture 
6 — Best mystery picture 
7 — Best romance 
8 — Best comedy 
9 — Best short reel picture 
10 — Best news reel picture 
11 — Best direction 
12 — Best story 




Leslie Howard in "British Agent" — 
Warner Brothers. 

More of Lilian 

Indianapolis, Ind. 

Something recent in origin — modern, 
novel — delightful! Lilian Harvey re- 
veals herself to the best advantage in 
snappy song numbers and fast comedy. 

Yes, dear readers, I've just been for- 
tunate enough to see Miss Harvey (a 
marvelous find) in "My Weakness." 
Because of his merit, we take off our 
beret to David Butler, due to his excel- 
lent direction and beautiful staging. In 
a production of this sort we can appre- 
ciate the true value of an actor or 
actress. Lew Ayres is an amiable and 
suave young playboy in the rough but 
Lilian Harvey has the picture. Al- 
though this role does not give her the 
dramatic possibilities of some of her 
foreign-made productions, she is charm- 
ingly naive. 

Most emphatically I stress this fact: 
she has proved to my own skeptical self 
that she is a miraculous achievement of 
drama. Evelyn Doty, 

314 X. Chester Avenue. 

Have patience and maybe you will be 
gratified. Watch for her new picture, 
"I Am Suzanne!" 



58 



The Xeic Movie Magazine, March, 1934- 



What makes skin Smooth 

J/prink/e-free ? 



TWO REASONS! 

/ Active Oil Glands in Under Skin 
2 Natural Moisture in Outer Skin 

You have Two Skins. You need 

Two Creams — a different 

cream for each skin 



THE APPLE TELLS THE STORY 





i 






* 




Smooth — Glossy Soft — Spongy Wrinkled — Discolored 

1 At its peak, the 2 A little past its 3 Later, theouterskin 

inner and outer prime, the inner has wrinkled to fit the 

skin of the apple tissueof theapple shrunken under skin, 

arc both firm and hasshrunkenaway This causes wrinkles 

smooth — perfect! from outer skin. in human skin, toot 



Read the story of the apple above! 

Amazing that your skin, too, is subject 
to changes like that! 

But there is a way to keep it youthful 
. . . free from dreaded lines! That way is 
to give each of your two skins the different 
care it needs. 

To Avoid Wrinkles, keep your Under 
Skin firm — Begin early to help this under' 
skin. When its oil glands begin to fail you 
can supply the oils that keep it firm and 
young. You need an oil cream that goes 
•Meep down. That is exactly what Pond's 
Cold Cream does. 1 1 penetrates to the very 
under skin. Your skin feels toned, renew- 
ed. Soon you feel and look years younger! 
Use this satiny cream for cleansing, too. 
Because it goes so deep, it removes every 
particle of dirt and make-up. No wonder 
it is so refreshing! 

To Correct Dryness — W 'hat to do for 
your Outer Skin — Here it's an entirely 
different need! Not oils but natural skin 
moisture is needed to keep this outer skin 
from growing dry — chapped. 

Pond's Vanishing Cream is made especially 
for the outer skin. // is grease/ess. It contains a 
marvelous substance that prevents loss of skin 
moisture— actually replaces lost moisture. 

You can test this yourself by a single applica- 
tion of Pond's Vanishing Cream on dry chapped 
skin! The roughnesses are smoothed away! 



UNDER SKIN 



WRINKLES START 





*m& 


r 
i 


OUTER SKIN 

WHERE 
DRYNESS STARTS 



Eleanor ^Roosevelt 



lovely young daughter of Mr. and A Irs. H. L. Roosevelt, of Washington, has already started using 
Pond's Cold Cream for her Under Skin, Pond's I'anishing Cream for her Outer Skin. 



Your skin is pearly looking. And this cream 
holds powder and rouge smoothly for hours! 

The Two-Skin Beauty Treatment 
Society Women Use 

Eleanor Rooseveltdescrihes the method foryou: 
"My night cleansing is Pond's Cold Cream 
— and Pond's Tissues take it otf. The tissues 
show how marvelously this cream cleans. I 
do this twice. 

"After cleansing I like to leave a little Pond's 
Vanishing Cream on my face overnight. It's so 
good to keep the skin clear and smooth. And 
there's no heavy stickiness about it. 




"In the morning, and in the day when needed, 
another good Pond's Cold Cream cleansing. 
Tissues blot it up. Then a dab of Pond's Van- 
ishing Cream to leave on. It holds powder 
nicely — keeps off any shine." 

Send for the samples offered in the coupon 
below. In a lew days see your own skin growing 
clearer, smoother, lovelier every day! 



For Your Under 
Skin — Pond 'a 
delicious Cold 
Cream, or, for 
those "li" prefer 
.i i re .t m that 
units more rap- 
idly, Pond's Liq- 
uefyini Cream. 




PqndS 



"!? 



ForYo 

Va 

O, 



OuUrSkin— Pond's 
shinRCream.grcascless. 
night <>t daytime sof- 
u:. Holds powder. 



Send for samplesi 

Pond's Extract Co., Dc.pt. C, 127 Hudson Street, New York City 
I enclose of! (to cover postage and packing) for samples of all Pond's 
Creams and six different shades ot' Pond's I ace Powder. 

Name 

Street 

City State 



TUNE IN on the Pond's Players Friday evenings, 9:30 P. M., 



E. S. T. WEAF, NBC Network 

Oopyrlsht, 1984, Pond's Extract Company 



News of the New 



THERE have always been cranky 
shoppers, women who in the old 
days went about pinching and prodding 
the tomatoes and oranges, sniffing of 
the cheese and surreptitiously nibbling 
coffee beans and tea leaves before 
consenting to buy. Sometimes this f ussi- 
ness was more of a pose than an indi- 
cation of real knowledge of food values. 
It indicated to the neighbors that you 
were not a careless waster of your hus- 
band's income, and to the grocer that 
you could not be imposed upon. 

The fussy shopper of today goes or 
should go about her business in a dif- 
ferent manner. Apples, tomatoes, and 
sometimes even potatoes go to market 
neatly wrapped in trademarked paper. 
Oranges and walnuts of standard 
quality are stamped with a packer's 
guarantee. Coffee is hermetically 
sealed in tin cans and the old open but- 
ter tub is gradually becoming a thing 
of the past. First-hand sampling is be- 




coming increasingly difficult and to 
take its place the modern woman must 
rely more on her knowledge of trade- 
marks and labels. Instead of trusting 
her own ability to judge coffee in the 
bean and the accuracy of the grocer's 
scales she reads what the packer has 
to say on the labeL She knows that 
"One pound net weight" is guaranteed 
not only by the manufacturer but by 
government authority. She knows that 
products put up by reputable food con- 
cerns come to her in as nearly uniform 
quality as is humanly possible. 

Going to market is still a pleasant 
and worth-while diversion. It keeps us 
informed of new food products and re- 
minds us of the wide variety of good 
things to eat that we might forget if 
we remained at home. Being fussy 
about food buying is still as much a 
virtue as it ever was, but it no longer 
calls for the time-consuming, per- 
sonal inspection that it did a generation 
ago. 

Because mother doesn't have to pinch 
each orange or sample the cheese, send- 
ing the young folk of the family to 
market is no longer an indication of 
thriftlessness or indifference. Because 
mothers today know and trust brands 
of food, boys and girls of school age 
are often trusted with a considerable 
share of the family food buying, with 
the result that these young people are 
becoming extremely well informed. 



SUITS for spring; no doubt about it. 
And if the first half dozen you try 
on aren't becoming, try another seven 
or eight, because the designers in Paris 
and America have been staying up 
nights for the last few months, intent 
on giving the new spring suit universal 




appeal. They have done their best to 
rid us of the prejudice that only a 
woman with a Gibson girl figure can 
look smart in a jacket and skirt. 
There will be the traditional tailored 
suit made of a firm, mannish type of 
suiting. Less traditional, but more dis- 
tinctly 1934, will be the suits with 
perky shoulders, and snugly fitted 
jackets cut oft surprisingly near to the 
waistline. 

Don't imagine that suits of this newer 
type are going to be as easy to put on 
and take off as vagabond swagger 
fashions of a few years ago. And don't 
begrudge the time or extra cash that 
will be required to make needed altera- 
tions. 




TAP dancing, aesthetic and drawing 
room. Which shall it be? The very 
young lady of today must have her 
dancing lessons. Taking daughter to 
dancing class isn't the drudgery that it 
used to be in the days when she had to 
be dressed up in formal afternoon 
clothes that made her pout and squirm. 
The approved dancing class costume is 
an abbreviated gringham romper, danc- 
ing slippers and a fillet for the hair. 



IF the generation of babies now in 
their cribs doesn't grow up with a 
cultivated taste in furniture, it won't 
be the fault of the furniture dealers. 
Ability to distinguish between early 
Colonial, late Colonial, mid-Victorian 
and some of the other periods that too 
frequently puzzle us adults ought to 
be a fairly simple matter. 

For the last ten or fifteen years much 
has been done to popularize furniture 
built to the scale of the younger chil- 
dren. It hasn't been enough just to 
provide them with a chair in which they 
could sit without dangling their legs. 
They have had bureaus and desks, set- 
tees and work tables, all graded down 
to their small size. For a time the pre- 
vailing idea seemed simply to be to 
make furniture that they would find 
amusing. Bunnies and chickens and 
creatures from Mother Goose were used 
as decorations. Furniture of this sort 
is still highly acceptable, but if you 
take your own furniture seriously you 
will be delighted with the newer vintage 
of juvenile furniture which follows 
faithfully the patterns of the authentic 
Colonial model. 




THIS growing spirit of hospitality is 
more than a matter of sentiment. 
It is making itself felt in the designing 
of our houses and the planning of our 
furniture. Having a house too small 
for a guest room need not mean shelter- 
ing out-of-town friends and relatives 
in a nearby hotel. A double berth 
built into the wall of one of your rooms 
may solve the problem. We have seen 
a number of these within the last few 
months. One was a recent addition to 
the bedroom of a boy of high-school age. 
At no great expense a six-foot niche 
was provided, with two frames, one 
above the other, on whicn were placed 
box springs and mattresses. A pair 
of steps, painted to match the frames 
and the woodwork of the room, adds 
to the sport of occupying the upper 
berth. And asking two boys to spend 
the night means no more extra work 
than setting extra places at the table 
and preparing a little more to eat. 

At country places and summer homes, 
numerous small guest houses are under 
construction. If your funds are plenti- 
ful the house may contain perfectly 
appointed living room, bedroom and 
bath, with a possible kitchenette at- 
tachment. But the essentials of hos- 
pitality are served just as well by a 
simple one-room shack built tight 
enough to insure protection against 
rain and wind. 






A Hand for Eltie 

Piedmont, ■ alifornia. 
Others may hand bouquets to the 
•>ut I'm banding a great big 
bonquet t'> ' . through whose 

colorful writing i timate 

glimpses of our film favorites, their 
habits and hobbies. When I 
article written by Elsie Janis, I know 
I'm going to get the real low-d 
the movie folks and not a l"t of 
up ballyhoo that will later be contra- 
dicted by the stars. 

Long may NEW MoVl parkle 

with Elsie's brilliant writn 
/.. ./. St< pi 
c/o Mrs. A. I look, 
100 Greenbank Avenue. 

We thoroughly agree with you. Thai's 
wh\ Elsie is nrittng for us. 

Hands Across the Sea 

Minneapolis, Minn. 

Recently one of our prominent 
wood producers made the following 
statement, which to my way of thinking 
is rather idiotic: "Foreign studios have 
nothing to offer the American motion 
picture industry. We producers don't 
have to ko outside our own city limits 
to find the finest acting talent. Foreign 
stories, like foreign actors, are all right 
for foreign audiences, but they just will 
not fit properly into the entertainment 
demands of American theatergoers." 
Evidently this man has never heard of 
the following foreign stars, who came 
from far outside our own city limits: 
Greta Garbo, Marlene Dietrich. Maurice 
Chevalier, Lilian Harvey, George Ar- 
liss, and so many English players that 
it would take too much space to men- 
tion them. Also he must have missed 
seeing, and I believe being entertained. 
by 'Be Mine Tonight," "Congress 
Dances," "Rome Express," "The Good 
Companions," "Maedchen in Uniform" 
and "Bitter Sweet." 

I believe it's a matter of give and 
take. We have much that is fine to 
offer them and there is no denying the 
fact that they have given us much in 
the way of fine acting and entertain- 
ment. Let's be fair to our foreign sis- 
ters and brothers in the moving picture 
business. 

C. II. X . 
Minneapolis, Minn. 

A hundred per cent right. Pictures are 
universal. 




Sullavan vs. Hepburn 

A i . 
in, the 
young b en hailed as 

"the new Kathai 

Holly.'. Janet 

I fell • f her talent 

ly in the 
"Only 1 .1 think, !■ 

■ 

- her, her personality « 

i dinating i 
thing else. When Miss Hepburn is on 




Margaret Sullavan, Universal star, in 
"Only Yesterday." 

the screen, supporting cast, play, scen- 
ery, direction — all are overshadowed by 
the breath-taking combination of her 
personality and genius. 

(Miss) A dele Thrive, 
55 Highland Street. 

You have a suggestion worth thottght. 
And, incidentally, you have struck one of 
the big psychological factors of the movies. 

A Crawford Fan 

Chatham, N. J. 

In my opinon, Joan Crawford is a 
splendid actress, as well as a woman of 
charm and poise. Her beauty is as re- 
freshing as a morning breeze, and her 
personality is as fragile and easily 
Broken as the gardenia which sym- 
bolizes her so well. She is an artist 
in the true sense of the word. An artist 
whose works are characterized by 
beauty and color. 

She has been criticized unjustly by 
many, mostly by those who have not the 
mentality to see two sides of a story. 
Nevertheless, I am 100 per cent for 
her, and I think she is one of our greal 
est act resses on t he screen today. 

Oh, Lovely Joan, if I could loan, your 
beauty for a day; and dance one night, 
to my delight, in "Franehot's" arms so 
gay! 

.liiim Magley, 
52 < ''iil'i Avenue. 

Speak straight out. That's what we 
like, and, maybe, we agree with you! 



Ralph Bell 



ellamy who will 
Sweet Cheat. 



appear in 



THE NEW MOVIE MAGAZINE pays 
one dollar for every interesting and 
constructive letter published. Ad- 
dress communications to A-Dollar-for- 
Your-Thoughts, THE NEW MOVIE 
MAGAZINE, 55 Fifth Avenue, 
Now York, N. Y. 



Take a Bow, Bob! 

Robert Montgomery (you know, that 
guy with the perpetual smile) 

much more praise than hi 

Every picture which stars him seems 
to be better than the la '. I ■• ently 

him in "Made on Br 
'•\\ :.■ -■; 1 it-: i ■ Mi el " ai d " I aother 
uage," and I really cannot tell in 
which In- was superior. Still in •■• 

rayal he is the same "Bob." He 

plays the s a rne role — 

that of a humorous high-hat who thinks 

he ought nits — and 

I et's hope they don't run out of 

parts for the polo champion. For "the 

of his shows the merrier." 

( .1/ Ess) i 

Here is another Bob Montgomery Jan. 
How many more are there'.'' 

What a Teacher Thinks 

Qaemado, New .Mexico. 

During the State Teachers' Conven- 
tion held recently in Albuquerque, New 
Mexico, I, like the other 2,000 or more 
teachers who attended from all over the 
. expectantly visited several of the 
theaters hoping to mix work with 
pleasure and to find some desirable 
talkies to counteract the depressing 
i of prevalent lectures on the 
teachers' deplorable condition during 
the depression. 

"Bitter Sweet," Noel Coward's poign- 
antly beautiful, sentimental operetta 
which was elaborately produced by an 
English company but released by United 
Artists, and splendidly sung and acted 
by a superb cast, helped me to forget 
such humdrum everyday affairs a- 
teachers' slashed salaries, short school 
terms, etc., and transported me into a 
realm of artistic satisfaction. 

Miss Neagle as Sari, the sheltered 
flower of aristocracy, who for true love 
runs away with her music master, Carl, 
and later assists him in their struggle 
for recognition in the music world and 
for self support by dancing in a cafe in 
Vienna while he conducts the orchestra, 
is charming above description. 

My only adverse criticism of this 
charming fascinating operetta is that 
the cast should have been AU-American 
and the ending should not have been so 
realistic, lifelike, and heart-rending, 
but more idealistic, happy and soul- 
satisfying. Clay W. Yadcn. 

Most pictures are designed as a way of 
escape from the cares of life, but there 
can't always be happy endings* 




Miriam Hopkins in "All of Me"- 
a Paramount picture. 



The New Movie Mac/aziiie, March, 193t 



59 



Coiffures for Constance 





Not even the hairdresser advises 
Miss Bennett how to arrange her 
hair and it is her opinion that 
every girl is her own best critic 




SHOULD a girl vary the arrangement of her 
hair to suit the occasion? 
To this question the truly dress-conscious 
Xew Yorker or Parisienne 'would usually an- 
swer, "Emphatically, yes." But Constance Bennett 
says, "Certainly not." 

"An arrangement that would be appropriate for 
the opera would be out of place on the golf links," 
says the well dressed American who is not an actress. 
And the clothes-wise Parisienne considers the line of 
her costume, the smartly tailored trotteur, or the sim- 
ple but elegant evening gown before giving directions 
to her hairdresser. But Constance Bennett says, 
"One's hair should be dressed in the most becoming 
fashion regardless of the occasion." And perhaps 
Constance is right. 

This does not mean, however, that Miss Bennett 
has only one hair arrangement. She has learned the 
trick of doing her hair in a dozen ways that are all 
supremely becoming. And in "Moulin Rouge" she 
even hid her lovely golden tresses under a transform- 
ing straight black wig. 

Is a girl the best judge of how to arrange her own 
hair, or should she follow the suggestions of others? 
To this question Miss Bennett answered. "If she 
knows her type she should be the best judge. If 
not she should make a really serious study of her 



features and then arrange her hair accordingly." 

Does Miss Bennett get the hairdresser to make 
suggestions? No. Does a director or anybody else 
ever make suggestions? Xo. Miss Bennett knows 
her own type better than anyone else, and needs no 
assistance. And it is her own personal opinion that 
any girl, whether or not she is gifted with introspec- 
tion or exceptional self understanding, should decide 
for herself what hair arrangements are most becom- 
ing and therefore most desirable. 

"The care of the hair should be of the utmost im- 
portance to all women," she said, "regardless of their 
profession, for hair has been and always will be 
woman's crowning glory. But no matter how natur- 
ally lovely your hair may be, how fine and soft and 
glossy, it won't take care of itself. Ordinary hair, 
if well cared for, is more attractive than the 
most beautiful hair in the world left to its own 
devices." 

Miss Bennett spends an hour at least in arranging 
her hair before the first scene of the day is photo- 
graphed, and between scenes time enough to match it 
up with the preceding scene. 

While Constance Bennett and the other leading 
screen actresses undoubtedly do settle the important 
question of hair arrangement for themselves, skilled 
barbers and hairdressers {Please turn to page 70) 



60 



The New Movie Magazine. March. 1931 



The "Growing Pains" Delusion 



"Lool^s to me as though you have been 
enjoying a lot of growing pains since 
I sold you that suit." 




CONTRARY to widespread belief, chil- 
dren do not suffer pain just because 
Nature is making their bones longer and 
their muscles stronger. It does not hurt to 
grow. 

Whenever a child suffers from so-called 
"growing pains," a thorough investigation 
should be made by a physician. 

"Growing pains" come from definite causes. 
Among them are improper nourishment, 
muscular fatigue following over-exertion, 
exposure to cold or inclement weather 
when not suitably clothed, improper pos- 
ture which may induce flat feet, round 
shoulders, round back, flat chest, pot-belly, 
curvature of the spine. Tuberculosis of the 
joints is a rare cause. 

One of the most serious causes of "growing 
pains" in childhood is rheumatic infection. 



'■»— "•"'A 









Indeed, if it is disregarded, it may lead to 
permanent damage to the heart. 

The onset of rheumatic infection is often 
so insidious that its danger to the heart 
may be unsuspected. This infection may 
cause a sore throat, as well as pains in the 
legs, arms or elsewhere; occasionally St. 
Vitus' 1 dance. Sometimes it is accompanied 
by a steady, low fever. A child with rheu- 
matic infection may look anemic, may be 
listless and may have no desire to romp and 
play. He may have little appetite and may 
lose weight. 

While sunshine, rest, fresh air and nourish- 
ing food often help Nature to effect a cure 
if the disease has not progressed too far, do 
not delay having a needed medical examina- 
tion if your child has "growing pains." 
He may be in great danger — the danger of 
permanent heart trouble. 



Metropolitan Life Insurance Company 



Frederick H. Ecker, President 

The Neiv Movie Magazine, March, 19SU 



One Madison Ave., New York, N. Y. 



61 



JOHN 

EDGAR 

WEIR 



MUSIC IN THE MOVIES 

What's new and best in melodies in 
the movies and on the records 




One of the outstanding scenes from "Going Hollywood," 
M-G-M's picture, featuring Marion Davies and Bing Crosby. 



DID YOU EVER SEE A DREAM 
WALKING which has made the 
grade so fast, is easily the head- 
liner this month. Leon Belasco and 
his Hotel St. Moritz orchestra do the re- 
cording of this, and right smoothly too. 
This is from the picture "Sitting Pretty" 
and regardless of whether you saw the film 
or not, you're sure to enjoy this record. 
Belasco himself sings the vocal. 

"Many Moons Ago" is the tune on the 
other side. This is another excellent tune 
from the same picture and also played by 
Leon Belasco. Dick Robertson sings the 
vocal in this one. (This is Vocalion 
record No. 2590-B.) 

P LYING DOWN TO RIO from the 
-*- picture of the same name is played for 
us by Rudy Vallee and his Connecticut 
Yankees. Vallee does a good job with this 
one, and it should meet with your ap- 
proval. Of course the vocal work is by 
Rudy. 

"Orchids in the Moonlight" is the tune 
on the other side from the same picture 
and by the same band. It may appeal to 
some. (This is Victor record No. 24459-A.) 



DEN SELVIN and his orchestra are 
Li next, and this time it's "My Dancing 
Lady" from "Dancing Lady." Good 
smooth stuff, well handled. This is a 
McHugh and Fields tune, so you know it 
won't be ordinary. Jerry Cooper does the 
vocal work. 

"I Guess It Had to Be That Way" is the 
tune on the other side. This is played by 
Bernie Cummins and his New Yorkers. 
Just so-so. (This is Columbia record 
No. 2844-D.) 

(Please turn to page 71) 







BIGGEST 


HITS 


"DM 


You 


Ever See a 


Dream Walking," 


fox 


trot- 


— played by 


Leon Belasco and 


his 


Hot 


si S+. Moritz 


orchestra. 

(Vocalion) 


"Flyir 


q U 


)wn to Rio,' 


fox trot — played 


by 


Rud 


/ Vallee and his orchestra. 








(Victor) 


"My 


Dancing Lady," fox trot — played by 


Ber 


Sel 


/in and his 


orchestra. 

(Columbia) 


"Beautiful 


Girl," vocal — sung by Bing 


Crosby, 


with Lennte 


Hayton's orches- 


tra 






( Brunswick) 



62 



The Neiv Movie Magazine, March, 1934 




rler face 
was covered 

with pfoHflet 



Here's a typical "Case History" 

as described by DR. EDOUARD ANTOINE, the 

noted Paris hospital authority! 



• l)r Antoine Is con- 
nected wiih the note 
Hopltal de la Glacier 
ParK hospital. He la 
a Chevalier of the 
I ettlnn of Honor. 




SKIN ERUPTIONS— pimples, 
blotches, boils. Nobody likes to 
see these telltale signs of ill health! 
Below . one of the foremost medi- 
cal experts in France — Dr. Kdouard 
Antoine, who numbers a king and 
other royalty among his patients- 
tells about an all-too-typical case 
of skin trouble . . . describes how 
quickly he corrected it! 

As Dr. Antoine says. "Skin trou- 
bles — likebad breath. coated tongue, 
loss of energy — are danger signals" 






— symptoms of sluggish intestines! 
Do you realize how easy this evil is 

to get rid of nowadays? 

"In my opinion," he states, "the 
most effective way to combat intestinal 
sluggishness is eatinp yeast . . . Skin 
disorders such as pimples and turuft- 
culosis (boils) are cleared up bv its 
purifying effect." 

So, if your skin is bad — or your 
health is "run-down" in any way — 
read the case below, verj carefully. 
Read this whole advertisement! 




"THE PATIENT." r. port. Dr. Antoine. "had 

suffered for yean from pimples. Had employ- 
ed ointment*, lotions, etc., without result . . . 



1 XAMINATION SHOWED . bad condition of 


"1 PKF.SCKIIIF.n YEAST. It quickly brought 


,,■ Interline*— obviously the cause of her bad 


about the desired result." (Chan vii»»- intes- 


kin. She had treated herself with purgatives... 


tinal tract, where 1 lelschmaiii, s \c.i,l „..rk,.. 






FLEISCHMANN'S Yeast is a 
fond which actually strength- 
ens the intestines. It also softens 
the body's waste matter so you 
can expel it easily. 

Then, as Fleischmann's Yeast 
cleans out the poisons in your 
system, you feel so much more 
energetic! Your digestion im- 
proves — you eat better — you 
suffer fewer colds, headaches. 
And — most gratifying of all — 
there's such an improvement 



in the condition of your skin! 

It clears. Freshens. Takes on 
new color. Becomes smoother. 
Is there any medicine, any cos- 
metic you know thai will do this? 

you can gel Fleischmann's 
Yeast (rich in health-giving vita- 
mins B, <; and D) at grocers, 

restaurants and soda fountains. 
Directions are on the 
label. Won't you eat it 
regularly— 3 cakes daily 
— starting this very day? 




My complexion was a sight," 
writes Miss Mack 



'•My skin wns all 
broken out." li'rircf 
Miss Ruth Mark, uf 
Los Infe/oj, CoHf. "I 

thought m > complex- 
ion was ruined. One 
of the hoys at tin 
office told me to try 
Fleischmann's . east , 
1 1 cleared up m> sluft- 
lilshness an.l In two 
months my skin was 
nil right again." 



The Neiv Movie Magazine, March, 193 U 



63 



Late Winter Styles 



Rochelle's new crocheted 
cap and scarf set and 
Irene's velveteen scarf 



FRANCES 
COWLES 




Rochelle Hudson has chosen for early Spring 

a pompon cap and a chevron scarf croche+ed 

from brown and yellow wool. 








<** 



Irene Bentley chooses this velveteen scarf to give 
a snug high neckline when March winds blow. 



THESE younger girls in Holly- 
wood take their clothes serious- 
ly but comfortably. And when 
Rochelle Hudson starts out on 
her morning walk she chooses a 
closely fitting soft little cap that no 
March winds can ruffle and a match- 
ing scarf that is as cozy as it is 
coming. Hand crocheted or knitted 
scarfs and caps are year-round 
fashions in Hollywood. The Tyro- 
lian berets with their colorful little 
feathers at the side were a special 
favorite in Hollywood in Autumn and 
Winter. But now for a change Miss 
Hudson chooses the cap with two little pompons posed 
jauntily at the front. Sets of this sort are sold at the smart 
shops, but it is a simple trick to crochet one yourself. 

Paris set the style for higher necklines and Paris designers 
invented some intriguing accessory scarfs to give this built- 
up neckline to a round-necked dress. 

Irene Bentley has chosen one of the new velveteen bow 
scarfs for Spring. It can be worn with a suit, but on warmer 
days it may be used in lieu of a jacket over a one-piece frock. 
Hollywood shops offer all sorts of interesting solutions to 
the problem of the late-winter wardrobe. There is really no 
excuse for letting your spirits lag or your wardrobe flop dur- 
ing those late winter and early spring days when you are 
waiting for the time to blossom forth in your Easter ward- 
robe. The dark woolen or silk dress that was so precisely 
right for midwinter will take on new life and animation by 
the addition of lingerie collar and cuffs. Or you can achieve 
a complete transformation by means of one of the new 
toppers, a sort of bib-like bodice front that fastens about the 
neck and waist. 



To obtain diagram circulars please turn to page 92. 



64 



The Neiv Movie Magazine, March, 1934- 



DO BANKERS' WIVES WEAR THE BRIGHT 

CutexCoraLCardinaLRuby Nails? 



CORAL WITH SABLES 

Mrs. Charles Morgan 
New York 

The brilliant, smart New Yorker 
— Mr*. Charles Morgan — con- 
trasts the deep brown of her 
sables with the Cutex Coral 
on her nails. "The 
brighter shades in pol- 
ishes.'' she says, "are 
entirely correct. I see 
them everywhere to- 
day, even more than 
the paler tints." 




RUBY WITH DARK GREEN 

Mrs.D.A.de Menocal 
Boston 

With a smart, dark green t- 

frock and beret from 

Paris, Mrs. de Menocal 

wears deep Cutez 

Ruby nails. 

' The trick is to 

vary your nail 

tint with your 

gown," Mrs. 

de Menocal says. 

"It's the latest 

way to achieve accent 

and individuality.' 



"OF course," said these 
three prominent ones 

IJIGHT down to their finger tips 
-*-*■ the banking ladies are prac- 
tically the standard for correctness in 
every American community. 

And now that even they have gone 
in for bright finger nails (see above . 
there's no need for the most timid of 
you to hold out against your instincts 
any longer. 

So. if you've been secretly yearn- 
ing to wear deep Ruby nails with your 
new navy spring suit — go ahead! 

But don't be foolish and speculate 
with uncertain, inferior polishes. Buy 
a polish that can be trusted. Buy 
Cutex. 

The 7 smart Cutex shades are made 
by the World's Authority on the 
Manicure and have preferred color 
rating. They 11 never streak, peel 
or blotch. 

And, whatever you do, remember 
the big idea is Variety. So check over 
your spring wardrobe and see that 
you have the right shade of nail polish 
for every single costume. 

You may as well buy up all the 
Cutex colors in sight. It won't put 
you in the red (except as to finger 
nails) — and just see if it isn't a great 
big paying investment! 

NATURAL rocs with all costumes, best with 
bright colors — red, blue, bright green, purple, 
orange, yellow. 

ROSE is lovely with pastel pink, lavender or 
blue frocks. Smart with dark green, black, 
brown. 

CORAL is a perfect shade to wear with white, 
pale pink, beige, gray and blue gowns. Also 
with black or brown. 

CARDINAL contrasts excitingly with frocks 
in black, white or pastels. Good with gray, 
beige or blue. 

GARNET is smart with gowns in tawny 
shades, brown, black, white, beige, gray or 
burnt orange. 

RUBY new A real rrc/red you can wear with 
any costume when you want to be gay. 

For the complete manicure use 

Cutex Cuticle Remover & Nail Cleanser, 
Polish Remover, Liquid Polish, Nail 
White I Pencil or Cream'. Cuticle Oil or 
Cream and the new Hand Cream. 
NORTHAM WARREN • New York 
Montreal • London • Paris 



Cutex L 



q 



uid 



D 
o 



ish 



The New Movie Magazine, March, i:>-:: 



65 



What's To Eat In Hollywood 




Marie Dressier, Warner Baxter and other favorite stars, 
turn a deft spoon in their own kitchens. Here are some 
of the latest culinary triumphs from out Hollywood way. 




MARIE DRESSLER likes to cook, especially 
when she can do most of it in the refrigerator. 
And there isn't a hostess in Hollywood who 
can boast of a more conveniently equipped or 
immaculately kept kitchen than ilarie. She is not the 
kind of home cook that delights in running downstairs 
to supervise the preparation of her own breakfast, 
but when appreciative guests are expected she will don 
her apron and deftly put together some delicious 
dessert. 

Here's how to make her latest triumph, pineapple 
parfait : 

Put a quarter of a cup of sugar and a quarter of a 
cup of the syrup from a can of pineapple in a sauce- 
pan. Stir until the sugar is dissolved and then let 
boil until the syrup spins a thread. Quickly beat up 
two egg whites until stiff, and pour the syrup slowly 
over them, a little at a time, adding two tablespoons 
of lemon juice. Let chill and then fold in three-quar- 
ters of a cup of drained, crushed canned pineapple. 
Also fold in one-half pint of cream, beaten stiff, and 
just a few grains of salt. Turn into the freezing tray 
of your electric refrigerator or, if you prefer, put 
into individual moulds and place the moulds in the 
freezing section. 

Warner Baxter favors a Roquefort cheese dressing 
which he mixes himself. It is made of the cheese, 

66 



olive oil, English mustard, lemon and paprika. He 
uses this on practically every salad. 

Kay Francis loves fried onions and fresh popcorn. 
If you don't think this is a swell combination, just 
watch the beatific expression on Kay's face when she 
sits down to a plate of onions and a bag of popcorn! 

Clara Salad, named after Clara Bow, is made with 
mixed spring greens, cole slaw, Julien cut tongue and 
ham with Thousand Island dressing. 

Joan Blondell specializes in "nut hamburger" sand- 
wiches. These are exactly what the name implies: 
ground round steak, mixed with chopped pecans, 
broiled speedily and served between the halves of a 
well-buttered bun. 

Fredric March starts each and every day with a 
tall concoction that is half orange juice, one quarter 
lemon juice, and one quarter grapefruit juice . . . 
unsweetened. 

Every Saturday night, Bette Davis serves an infor- 
mal dinner of Boston baked beans and brown bread 
to her friends. 

Barbara Stanwyck is a (Please turn to page 91) 
The Neiu Movie Magazine, March, 193-i- 



d,n 9'y on S • 

cor e5s ° w o„- s s/ ° a " n -'e*t ured 



-^.055 .. • • • Soff . i. '"noj 



"' »". o»„ '"" "Or, . "■ "■"• I 



c ■vriria w l.. ' "Pert, • -corr-h 

»"', ond oft 6 ° eo« v . e *o 

V°» -oo,; ;;«•»»-. or? ;. "<-« «... 

''"'■^orrcrr'"'- 




Photograph by Hun 



Soft, smooth, and lo 



ir face are the hands of JOAN CRAWFORD, in TRY Hinds Cleansing Cream, too, by the same makers. Deli- 
- Mayer production. cote, light... liquefies instantly, floats out dirt! 10c, 40c, 65c. 
e, featuring greatest stars of stage, screen, and opera. Sunday evenings, 10:30 E. S. T. WEAF, N. 8. C. nerworfc. 






The New Movie Magazine, March, 1931, 



67 



Lets talk about 

Something 
P 1 e as h n 1 ! 




l\ delicious bit of chocolate, for 
instance. For it so happens that a 
delicious bit of chocolate is changing 
the ideas of millions about laxa- 
tives. And you ought to know it! 

It's Ex-Lax, the chocolated 
laxative. It looks like chocolate and 
it tastes like chocolate, but through 
the pure, smooth chocolate is dis- 
tributed uniformly a world-famous 
laxative ingredient that is perfectly 
tasteless. All you taste is chocolate. 
But no nasty-tasting, harsh, violent 
purgative was ever more effective! 

Why, then, clutter a medicine 
cabinet with a whole row of laxa- 
tives when one tiny tin of Ex -Lax 
will serve the entire family? And 
serve them better! 

Ex-Lax is as gentle as it is 
pleasant. And that's important! For 
you don't want harsh, violent action. 
You want a laxative to be effective 
—but gentle. Ex-Lax works over- 
night without over-action. It 
doesn't cause stomach pains. 

So next time when you have to "take 
something," get Ex-Lax! See how pleasant 
it is to take — and how much better you 
feel afterwards. 

At all druggists. 10c and 25c J^RA, 
sizes. But look for the genuine 
Ex-Lax, spelled E-X-L-A-X: 



^ep regular- »»f t £s 



EX- LAX 

THE CHOCOLATED LAXATIVE 




IWMUP BOX 



IF you would have beauty after thirty 
— get your rest. No cream or cos- 
metic can compete with loss of sleep. 
Sound sleep, healthful foods, and in- 
ternal cleanliness are a sure founda- 
tion for beauty. No, the foregoing is 
not quoted from a kindly family phy- 
sician but is the sane advice of the 
makers of a cold cream which has been 
used by discriminating- women for over 
twenty-five years. They have entirely 
modernized the package, new labels, a 
new jar, and, of course, the whole is 
wrapped in shiny cellophane. But the 
cream itself hasn't changed a bit — it is 
still the same smooth, rich cream with 
the same delicate fragrance which has 
had the place of honor on the dressing 
tables of many women for years. 




HOW we women do love to test and 
experiment! Here is a test we 
tried out in our beauty department the 
other day, feeling very scientific in- 
deed. We dropped a small quantity of 
powder into a glass of water. Not a 
grain of it dissolved. It was proof 
positive, so our chemists told us, that 
the powder was quite free from starch 
and moisture proof as well. The tex- 
ture of the powder, too, was as soft and 
smooth as rose petals. You'll like it 
and the box in which it comes ... a 
Dresden sort of beauty in white and 
coral with a French blue bowknot. 

PINCHED, pink noses and chilly toes 
these wintry days do not improve 
your looks. And, if those same toes 
persist in pushing their way through 
your best hose, then you have a foot 
problem. But there is a new conveni- 
ence that ought to solve the double 
problem simply and inexpensively. 
Foot pads, soft and warm, which can 
be purchased in sizes just like hosiery, 
and sun-tan in color so that they defy 
detection. Slip a pair of the dainty 
footlets either under or over your stock- 
ings to give hosiery a longer life. 

NEVER let it be said that we are 
not tireless in tracking down the 
newest and most exciting of feminine 
accessories. Compacts have always de- 
lighted the feminine heart and this 
season we're back on the gold standard 
with a gleaming, golden compact. _ A 
particularly captivating one contains 







rouge and powder in a slim and oblong 
case and the richness of the gold-toned 
metal is emphasized by color accents 
of soft turquoise blue or coral red. The 
vanity case is so luxurious looking' that 
it makes a fitting accompaniment for 
your new tiara, ostrich feather evening 
bag and gold kid evening sandals. 




Ji 



HAVE you ever had a big date, a 
miserable cold in the head, and 
straggly, oily locks all at the same 
time? It's a horrid fix to be in, isn't 
it? But be of good cheer for now there 
is a liquid dry shampoo that performs 
a miracle. Not a soap, a soapless 
shampoo or a wave set, this liquid 
shampoo dry cleans the hair and does 
not spoil a fingerwave. It takes but ten 
minutes to cleanse the scalp thoroughly 
and leaves the hair soft and lustrous 
and the fingerwave as though you had 
just emerged from the hairdresser's. 



For further details including 
names and prices of the articles 
described above as well as other 
beauty news, send a stamped, ad- 
dressed envelope to Beauty Editor, 
Make-Up Box, Tower Magazines, 
55 Fifth Avenue, New York. 



68 



The Neio Movie Magazine, March, 193k 



A MONTNLY MAGAZINE FOR CHILDREN 



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ITORIES • (OMKS • 1 URPRISES • PICTUF 



AT RIGHT are excerpts from a few of the 
I many letters we have received since 
the publication of Tiny Tower. Your boys 
and girls will love this new magazine, too, 
because it is gay and colorful with every 
page full of fun for younger children. 
Stories, puzzles, rhymes, a song, picture 
strips, drawings . . . dozens of things to do 
in this one and only national monthy maga- 
zine of its kind. The coupon below will 
bring your children and little friends twelve 
happy issues of Tiny Tower. Will you please 
let us know with what issue you want the 
subscription to begin. 



year-old f- p V of T; n T A YS : 

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TINY TOWER 



55 FIFTH AVENUE • NEW YORK, N. Y, 



Please send a year's subscription to the child whose name appears below. I am enclosing 

$1.00 and want the subscription to begin with the issue. 

Month 

CHILD'S NAME 

ADDRESS 

CITY STAT E , 

YOUR NAME AND ADDRESS 

The Neiv Movie Magazine, March, 1934 



AGE 



69 



f 



J 'hat no soap 

?",::--■■-- •-' 
Iron;-' 







H 0U ^;. b beaut v treatment 
^ baby « be J . 



Sprigs on t^- oi yQur g0 ^ ^^ ^ivory • baby ab ut 
Sxe to take stock ^ ^ P ^ t0 be enOU gh, 

vour bath, too. <^ ^ at 

Jour complenou does* you 

and scrub *f"jL lather, loull 
S^daOybea^^^that 



ST* It*- tJbra^^ear 

t be allumig brig ^ 

besopoP^^erioi^ ?g 
H o^'s ^^^SbY^^^" 
Uea make-uP alon atten . 

Son- Get busy vath a & ^^ 

.^--^■:---,^^- 

^vclear.baby-sm heSoap L hat 
iW^oukuoJJ {babie s 



„Q-Jt|lOO U i° F 



Coiffures for 
Constance 

(Continued from page 60) 

play a big 1 part in giving Hollywood 
a preeminent position in this matter 
of hair arrangement. It is one thini 
to know that a certain type of ban^ 
will add a note of infinite bewitchment 
to the face and another thing to know 
how to achieve that type of bang by a 
few deft clips of the scissors. It is 
one thing to appreciate the charm of 
softly curling ear locks, and another 
thing to know by what expert manipu- 
lation they can be effected. 

ACTUALLY the methods and the 
preparations used by Hollywood's 
hairdressers are no different from those 
used by successful hairdressers here, 
there and everywhere. There are noli 
secret formulas or applications. TheT 
difference between the tactics of the] 
Hollywood coiffeurs and those of other] 
coiffeurs is one that can be easily ex- 
plained by Hollywood's own require- 
ments. If your interest is one of 
smartness, of keeping up with the fash- 
ions, then when you go to the hair- 
dresser you will naturally ask him to 
arrange your hair in the latest fashion, 
a style that will be precisely right for 
that new hat copied after a Paris 
model. If you are an actress who must 
register her individuality on the sensi- 
tive film of a camera, then the most 
important thing is to choose a head- 
dress that is above all else becoming 
and individual. Mere smartness is not 
enough. 

ONE thing that may strike you on 
your first visit to Hollywood from 
New York, Chicago or Paris is that hair 
is cut longer there than elsewhere. You 
have heard of the new sleeker coiffures 
from Paris, and you have seen them 
successfully worn in American cities. 
You are surprised when you see the 
best Hollywood barbers more chary 
with the scissors. But that your 
Hollywood barber easily accounts for 
when he reminds you that an actress 
never knows precisely what role she 
may be called upon to play next and 
that it is very much simpler to give a 
sleek contour to hair that is a trifle too 
long than to give a soft, girlish effect 
to hair that has been cropped too short. 
So we may give blame or credit to 
Hollywood for the continued vogue of 
the longer bob. 

OTHER present-day fashions in hair 
dressing may undoubtedly be laid 
at Hollywood's door. The most impor- 
tant of these is the present insistence 
on glossiness and sheen. Fuzziness and 
roughness of the hair that might once 
have been tolerated show up glaringly 
on the screen. You may have noticed 
this yourself in your own photographs. 
Hair" that will stand up under this new 
requirement must be free from broken 
ends, it must be smooth and lustrous 
and soft. 

If you could compare the beautifully 
kept hair of the modern young woman 
of today with the frizzed and scorched 
and ratted hair of the girl of the pom- 
padour age, you would begin to appre- 
ciate the vast improvement that has 
taken place in hair treatment, hair 
preparations and waving methods. And 
if you stop to think you will give 
motion pictures a share of the credit. 



70 



The New Movie Magazine, March, 1934 



Music in th< 
Movies 









BEAl'TIKl/I. GIRL" sung by Bing 
liy Bhonld please any 
who enjoys vocal recordings. This is 
from the picture, "Going Holl; 
and if yon saw the show, no donbt yon 
recall the tune. Bine has excellent 
support from Lennie Hayton'a or- 
• ra. 
"After Sundown" is on the other 
side, and is from the same picture, and 
recorded by the same artists. Bine is 
just as good in this one, but I don't 
like the tune as well. (This is Bruns- 
wick record No. 6694.) 

HERE'S one from the film "Foot- 
ball Coach" and it's played by 
Eddie Duchin and his on 
"Lonely Lane" is the title, and I find 
it a very agreeable tune. Eddie does 
some outstanding piano playing in this 
one, and the record is swell in every 
sense. Lew Sherwood sings the vocal. 
"Dark Clouds" is on the other side, 
and this is also by Eddie Duchin and 
his orchestra. A good tune. (This is 
Victor record Xo. 24441-A.) 

^TO MORE LOVE" is the lament 
* we get from Ruth Etting, and 
this is from "Roman Scandals." This 
is a good tune for Miss Etting to put 
over, and she does it with ease. You'll 
find no flaws in it. 

"Build a Little Home" is on the 
other side, also from "Roman Scan- 
dals" and also sung by Ruth Etting. 
This is much more optimistic, and af- 
fords an agreeable contrast. (This is 
Brunswick record No. 6697.) 

HERE'S a list from the current 
movies that are okay if you run 
across them. On Brunswick we have: 
"Lucky Fella" from the picture "The 
Prizefighter and the Lady" played by 
Tom Coakley and his orchestra. On 
the other side "Clean as a Whistle" 
from "Meet the Baron." 

"Good Morning Glory" played by 
Jay Whidden and his orchestra, from 
"Sitting Pretty" and on the other side, 
"I Wanta Meander with Miranda" 
from the same show and by the same 
bunch. 

"Love Passes Me By" played by Gus 
Arnhoim and his orchestra, from "The 
Worst Woman in Paris?" and on the 
other side "Summer Is Over" by the 
same band. No show. 

"We'll Make Hay While the Sun 
Shines" sung by Bing Crosby, with 
Lennie Dayton's orchestra, and the 
reverse is "Temptation" by the same 
artists. These are both from "fining 
Hollywood." 

Victor gives us "My Dancing Lady," 
played and sung by Rudy Vallee and 
his band, and on the other side 
"Everything I Have Is Yours" also by 
Rudy. These are both from "Dancing 
Lady." 

"After Sundown" a rumba played 
by Eddie Duchin and his orchestra, 
taken from "Going Hollywood" and on 
the reverse, "La Cumparsita" by the 
same band. No show. 

On Vocalion you should hear, "Doin' 
the Uptown Lowdown" played lay Dick 
Himber and his boys, and "You're My 
Past, Present and Future" played by 
the same. These are both from "Broad- 
way Thru a Keyhole." 



The New Movie Magazine, March, 1934 



LOliif doeS upif Cuticle 

aetjo RAGGED? 




Put t^otfin 
your dishpan 
as a beauty aid! 



It costs so little to use Ivory for all soap-and-water tasks, 
why ruin your hands with strong suds? Ivory keeps busy 
hands looking nice 99 4 '7ioo°/o Pure. 

Ivory Soap 

prevents "Housework Hands" 



71 




"I found out why 
my baby wouldn't eat" 

"TI/HEN Peggy was 5 months old, and 
VV I put her on strained carrots and 
spinach . . . well ! The struggles that child 
and I went through! 

• "Here's what the Doctor said: 'You've 
probably been giving Peggy vegetables 
that aren't strained fine enough. Baby is 
used to liquid food. And habits are hard 
to change. So when she finds her food 
rough and lumpy, she just doesn' t like it ! 

• 'Try Clapp's. I've never seen the baby 
who didn't like them. They're so smooth, 
and they never vary in that smoothness. 
Clapp's were the first to make a business 
of medically-approved strained baby 
foods. So they fully understand how to 
prepare them to give the right consist- 
ency, and to retain the maximum of min- 
eral salts and vitamins!' 

9 . . . "Well . . . Peggy took her Clapp's 
Strained Vegetables like a hungry robin 
— and was I happy"! 

• There are 15 intriguingly delicious 
Clapp's Baby Foods. And every one now 
comes in Clapp's Enamel Purity Pack, 
preserving the highest purity. 

• Only the finest selected foods are used. 
And these foods are prepared in tiled 
kitchens under modern sanitary condi- 
tions ... and are cooked in glass lined 
kettles. Then they are sent on their way 
to help bring your baby better health. 

• 15c each. At druggist's or grocer's. 

• FREE :— A booklet, "Before YourBaby 
Goes on Vegetables." Write Harold H. 
Clapp, Inc., Dept. 71 Rochester, N. Y. 




15 

delicious 
foods for Baby 

Baby Soup Strained, Baby Soup Unstrained, 
Vegetable Soup, Tomatoes, Asparagus, Spinach, 
Peas, Beets, Carrots, Wax Beans, Apricots, 
Prunes, Applesauce, Beef Broth and Wheat- 
heart Cereal. 



My Life Until Now 



(Continued from page 33) 



standing with her back to the counter, 
talking to one of her waiters. I was 
startled out of a year's growth when I 
heard her voice, for it was like my 
mother's. 

I didn't wait for supper. An hour 
later I was riding the rods on a fast 
freight, headed for Louisville and Kan- 
sas City. I was anxious to get home 
and face the music. 

And I had to face it. Father and 
Mother were delighted to see me. They 
bought me a new suit and showered me 
with proofs of my welcome — but not 
until my father had given me the 
soundest thrashing a kid ever received. 
Having upheld the inevitability of the 
"law," he then felt free to prove his 
own understanding and mercy. He 
asked me to explain just why I hated 
school and just why I should not go 
back to it. I did — as eloquently as 
I could. He listened very pa- 
tiently, said that he would talk to my 
teachers and promised to give a deci- 
sion within a week. Evidently my 
teachers confirmed my own opinion of 
my ability as a student, for his delib- 
erations ended with the verdict I'd been 
hoping for. I didn't have to go back to 
school if I could find a job. 

Employment was plentiful in those 
days, and I landed work on my first ap- 
plication — an engine wiper's job in the 
Sheffield roundhouses. I felt at home 
there, but I didn't keep the job long, for 
the wages were too low. I was deter- 
mined to make money. 

My next job was with the Sheffield 
Nut and Bolt company, feeding blast 
furnaces. Then I landed a job with a 
Santa Fe section crew, at a man's 
wages. I felt that I'd "arrived" and 
was perfectly satisfied with my estate 
until letters began to arrive from my 
oldest brother, Bill, who was working 
with the Ringling Brothers Circus and 
had been promoted to manager of con- 
cessions. 

My imagination ran wild. Bill could 
undoubtedly get me a job with the cir- 
cus! Travel, excitement, adventure and 
millions somewhere in the offing! The 
more I thought about the circus, the 
more I grew to despise my routine job 
on a section gang. 

I talked it over with my folks, 
wheedled them into giving a rather 
reluctant consent, and then wrote Bill 
a plea that would have melted the heart 
of a stone image. I waited for a month 

the longest month of my life— before 

his answer came. 

Two weeks later I joined the show- 
as chambermaid to the elephants, at 
three-fifty a week and my board, plus 
a bonus of a dollar and a half a week 
if I stayed the entire season. In my 
estimation, then, that was a princely 
fortune. Since then I've made more 
than a thousand times that salary, but 
I've never felt as rich. And I've never 
been happier or more convinced of my 
own importance — which all goes to 
prove that the value of everything m 
life depends on the point of view. 

I was with the circus for three sea- 
sons, and I wouldn't take a lot for the 
experience. 

A circus crew is "hard and wastes 
no sympathy on weaklings. A man has 
to fight or foot-race— and if he runs 
he can't come back unless he's willing 
to crawl. 



As a kid, running with one of the 
toughest gangs in the Kansas City "Bot- 
toms," I'd learned to use my fists; 
traveling with the circus, I learned to 
fight with my head as well as my fists. 
I learned that while it's fatal to dodge 
a fight, it's folly to pick one. A circus 
crew, like the world at large, despises 
a coward, yet has no use for a bully, 
and 'oses no opportunity to put him in 
his place. 

Another lesson I learned was that the 
world never gives a sucker a break. 
In those days, every circus crew listed 
its pickpockets, short-change artists 
and shell-game men — and they sneered 
at the "yokels" while they robbed .them. . 
They considered that their superior 
"cleverness" gave them the right to loot . 
wherever they could. 

Of course I've modified most of the 
hard-boiled philosophy that was pound- 
ed into me then — but a few experiences 
with genteel stock brokers, big business 
men and modern philanthropists have 
convinced me that the circus "grifters" 
were graduates of the same world-wide 
school. 

From Ringling's, Bill and I went 
with the Forepaugh-Sells circus. We 
spent our summers traveling from coast 
to coast and our winters strutting 
around in Leavenworth, Kansas, where 
my father had gone into business. I 
was still a punk kid and you can im- 
agine how much pride I took in brag- 
ging to stay-at-homes of my own age 
about my adventures with the big-top. 

The bubble of my self-importance 
was rudely exploded by a letter from 
my brother Noah. He was in New 
York and announced that he'd gone 
on the stage. He'd landed a job as a 
chorus boy, at the almost unbelievable 
salary of eighteen dollars a week. And 
I was making only three-fifty, a small 
bonus and my board. 

I decided that I was going to be an 
actor ! And by the end of my next sea- 
son with the circus, which I finished in 
order to collect my bonus, my decision 
was strengthened by a second letter 
from Noah, telling how his singing 
voice had lifted him from the chorus 
to a small "bit" and a seven-dollar 
raise. 

If Noah's voice could earn that much 
money, mine could ! Thanks to my 
mother's insistence on culture, I'd had 
some musical training. I could sing as 
well as Noah — and at least twice as 
loud ! I caught a train to New York. 

Noah welcomed me with open arms 
and escorted me on a tour of the book- 
ing offices. 

Lady Luck was kind ! Within a 
month I was rehearsing with the chorus 
of "Babes in Toyland." 



Next month Wallace Beery tells 
of his rise from chorus boy to lead- 
ing man, of his debut in the early- 
day movies and his first stardom 
— of his marriage to Gloria Swan- 
son and his tips and downs in the 
pioneer studios of Hollywood. 
Watch for the continuation of his 
intimate life story. 



72 



The New Movie Magazine, March, 193-i 



My Mistakes 

I from pagi 



want to art cool, I certainly can. Why, 
frequently when Douglas used to come 
home, I'd barely ask him if he had had 
his dinner. 

Oh ... I was wrong there, for like 
a boomerang, such coolness is bound to 
re-act on the woman. We women can't 
kid ourselves. We love to be pos- 
That's a singularly femi- 
nine trait. Don't misunderstand me, 
by being possessed I don't mean 
■based. All anyone has to do is to 
tell me to do something, and I'm as 
stubborn as a mule, but if they ask 
me, it's a different story. 

With Douglas I made the mistake of 
going to extremes. This mistake has 
taught me that there is a wide, wide 
difference between interest and indif- 
ference, interest and possessiveness. 

In another marriage, instead of be- 
ing afraid of that possessive "Where 
were you this evening?" I shall com- 
promise with "Did you have a good 
time?" I want, above all things, to be 
able to strike a happy medium. I 
think this need applies to any wife. To 
maintain a successful marriage, she 
must not go to extremes. 

I admit that in our business it is 
more difficult to be possessive than in 
any other field. We work so hard, and 
we come home so tired that we have 
nothing to give. The only times we 
really see each other is between pic- 
tures. 

The other big mistake I made in my 
marriage to Douglas was the mistake 
of not having a baby. To my mind no 
marriage is complete unless there 
is a baby. I suppose nearly every 
woman wants a baby to satisfy her 
ego, and I'm no exception. I do not 
say that a baby would have made that 
first marriage of mine a success, but 
it would have given me something con- 
crete. 

My marriage to Douglas smashed a 
great many of my ideals, but I thank 
God that I have a few left. And I'm 
afraid for them, those ideals. I'm 
afraid of making more mistakes, and 
thus losing them. That's why I'm not 
going to tell you what those remaining 
ideals are; that's why I intend keeping 
them to myself. 

You see, in my personal life my 
greatest mistake is being too trusting. 
I'm too impulsive. I judge people too 
hastily. I talk too much. This has 
given me a lot of trouble. 

I made the mistake of telling inter- 
viewers too much about my personal 
affairs. The public knows too much 
about me. They know I like gardenias. 
They know I'm sensitive. They know 
I cry easily. 

Time and again I've felt sorry for 
an interviewer who says she can make 
one hundred dollars on a story, and 
time and again, to my ultimate grief, 
I've answered a lot of impertinent and 
unreasonable questions. 

There is one interviewer in particu- 
lar, who has hurt me often. At length 
I vowed I would never see her again. 
Then she begged me, she had such a 
good angle for a story, she said, and 
so I finally consented to see her. The 
whole while she was with me I care- 
fully remained on my guard. She wrote 
a lovely story. And then ... to my 
amazement ... to my disgust . . . the 
very next week she followed that lovely 
(Please turn lo page 74) 




AFTER 

... or at any time at all when you feel the least 
bit tired, just enjoy a fresh stick of Wrigley's 
double mint gum. The chewing helps you to 
relax and in no time you feel wonderfully rested. 
Besides it gives you a glamorous new beauty be- 
cause it eases up those tense, unbecoming lines 
which come around your mouth and eyes when 
you are tired. 



The New Movie Magazine, March, 193 A 



73 



THE 



a 



armoF 



LOVELY EYES 

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Eye Beauty Aids 



My Mistakes 

(Continued from page 73; 





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